Airplane 2

AIRPLANE II
by
Ken Finkleman
SECOND DRAFT
February 18, 1982
FADE IN:
2.
EXT. JUNGLE - DAY
A machete slashes INTO FRAME. An American in battered

fedora and leather jacket, accompanied by two
gunbearers,
hacks his way through dense bush. We see him from the
back
only. He hacks an opening, bats fly out AT CAMERA and
the
bushes part, revealing huge overgrown stone letters --
the
Mayan ruin look -- that spell "AIRPLANE II."
EXT. GANTRY - NIGHT
The Jupiter shuttle stands ready to fly.
SUPER: HOUSTON, 2002
INT. MISSION CONTROL ROOM - STOCK FOOTAGE
of Houston Control with appropriate jargon V.O.
INT. TERMINAL - WIDE ANGLE STOCK SHOT
of a crowded modern terminal.
P.A.
All lunar departures, please proceed to
concourse lounge 'B.'
EXT. TERMINAL - STOCK FOOTAGE - NIGHT
of heavy traffic at LAX.
ANGLE ON TERMINAL DOORS
A number of men in futuristic-looking mining outfits,

3.
carrying futuristic gear, unload a truck with a
corporate
logo that reads: TRX DEEP SPACE RESOURCE MANAGEMENT.
P.A.
Attention, all Pulsar Four mining
personnel.
The miners look up.
P.A.
Please report to the Resource Expeditions
office, level seven.
Two miners head to terminal doors and pass FOUR NUNS,

who
bid farewell to FATHER O'FLANAGAN. O'Flanagan shakes
the
hands of the first three elderly nuns, then grabs the
last
young gorgeous nun and kisses her passionately.
OLDER NUN
No tongues, Father.
INT. CONTROL ROOM
A group tour moves through the room behind controllers.
GUIDE
All lunar shuttle landings are handled by
these computers and simulated on these
video units.
CONTROLLER 1
(at computer screen)
You're programmed on R-two-niner and
locked, Lunar eight six. Over.
INT. LUNAR SHUTTLE COCKPIT - NIGHT
Three crew members watch the lit landing strip as their

shuttle approaches.
4.
CAPTAIN
(to co-pilot)
It's out of our hands now, gentlemen.
They smile.
INT. MISSION CONTROL
The CONTROLLER moves away from his video unit. A kid

from
the tour who has lagged behind hits a switch. The
screen
turns into a video game with SFX. He flips knobs.
INT. LUNAR SHUTTLE
The crew are tossed from side to side and try to regain
control of the ship.
EXT. NIGHT SKY
The Lunar shuttle careens towards the terminal, out of

control.
INT. CONTROL ROOM
The kid is still playing like mad. A flash appears on

the
screen. SFX VIDEO GAME EXPLOSION and a corresponding
EXPLOSION from outside. SIRENS WAIL. CONTROLLERS run
around. The kid is oblivious and walks away.
EXT. TERMINAL - NIGHT
BUD KRUGER, head of the space center, and the

COMMISSIONER
get out of a limo under a sign that reads, "MERCURY
SHUTTLE." They walk and talk.
5.
KRUGER
Commissioner, we both know the Mercury
shuttle needs another month of pre-launch
testing.
COMMISSIONER
Forget it. The boys on the board want
that shuttle to go on schedule.
CUT TO:
INT. TERMINAL
Kruger and the Commissioner go up escalator.
KRUGER
And what do the boys on the board know
about safety, Commissioner? Let me talk
to them.
COMMISSIONER
Bud, get wise to the political realities.
The boys on the board are under a lot of
pressure from the boys downtown.
CUT TO:
INT. TERMINAL - SECOND LEVEL
Kruger gets a pack of cigarettes from a machine.

Commissioner buys a newspaper.
KRUGER
And I'll be the one they'll hang if
there's a screw-up.
CUT TO:
INT. TERMINAL - SHOESHINE STAND
Kruger and Commissioner get shoes shined. A MAN next

to
6.
them in white shoes reads paper with headline -- "SOLAR
PLANT MELTDOWN, 500 WORKERS SERIOUSLY TANNED" -- and
doesn't
notice his shoes are getting black polish.
COMMISSIONER
Listen, Bud, the boys downtown are under
heavy fire from the boys in Washington.
That's why they're putting pressure on the
boys on the board.
CUT TO:
INT. TERMINAL
Kruger and Commissioner head down escalator.
KRUGER
Well, you tell the boys on the board to
tell the boys downtown to let the boys in
Washington know that the press has been
nosing around my people in the front
office.
CUT TO:
EXT. TERMINAL
Kruger and Commissioner head to their limo.
COMMISSIONER
You handle your front office people, I'll
handle the press and leave the boys in
Washington to the boys downtown and the
boys downtown to the boys on the board.
KRUGER
Commissioner.
They stop and look at each other.
COMMISSIONER
What?
7.
KRUGER
I just wish it was that simple.
MUSIC: DRAMATIC STING
They get back in their limo and drive off.
CONTROLLER
(over P.A.)
This is Mercury One control. We have
condition green. Mark launch 'T' minus
two hours and counting. I repeat, we have
condition green.
ANGLE ON LESLIE NEILSON - DOCTOR RUMACK
Dressed as a doctor and looking in a Controller's

mouth.
The Controller's face is bright green.
RUMACK
This condition isn't as bad as it could be
if it were a lot worse. Take these pills.
(hands him pills and water)
Here's some water.
CONTROLLER
What is it, doctor?
RUMACK
Two parts oxygen, one part hydrogen.
It'll make the pills go down easier.
EXT. GANTRY - CLOSEUP OF SHUTTLE - NIGHT
MUSIC: BIG SPACE THEME
WIDE ANGLE LENS PANS the under-belly past the nose as

if the
8.
viewer bent his head back as far as he could, until...
the
CAMERA crashes to the ground as if it has fallen off
the
tripod.
MUSIC: CRASHES TO A STOP
ANGLE ON SIDE OF SHIP
MUSIC: BIG SPACE THEME STARTS FROM TOP AGAIN
PAN workers on scaffolding who check gauges on exterior

of
ship. PAN to panel that reads, "SOLID FUEL CHUTE" -- a
sweaty muscular worker in undershirt opens the panel,
flames
shoot out. LOOSEN to reveal another sweaty worker in
undershirt shoveling coal into the chute. PAN to other
workers checking more gauges. SUDDENLY a PANEL
EXPLODES.
Smoking, sparking wires pop out. A WORKER runs up with
walkie-talkie in hand.
WORKER
(into walkie-talkie)
This is Mercury station six! Get me the
Sarg and fast!
EXT. TERMINAL - NIGHT
SIMON KURTZ and ELAINE THOMPSON get out of a taxi with

hand
luggage. They are dressed in matching flight outfits.
A JAPANESE COUPLE get out of a taxi -- the man has

about
fifty cameras around his neck. His wife hangs another
camera on him. He crashes to the ground under the
weight.
Simon and Elaine are approached by a BUSINESSMAN with

handful of roses.
9.
BUSINESSMAN
Would you like to buy a rose to help bail
out Chrysler? We're an all-profit
organization and need all the money we can
get.
Simon hands the Businessman a dollar and takes a rose.
SIMON
(to Businessman)
Here.
The Businessman joins six other BUSINESSMEN carrying

signs
with LEE IACCOCA's picture. They all smile and chant.
BUSINESSMEN
(to Hari Krishna)
IACCOCA, IACCOCA, IACCOCA, IARAMA.
Simon hands Elaine the rose. She takes his arm as they
walk
towards the sign that reads, "MERCURY SHUTTLE."
SIMON
For the best little computer officer on
the Mercury mission.
ELAINE
(smiling)
Simon.
SIMON
Who would believe that Elaine Thompson was
once a stewardess on the Denver-Chicago
run.
ELAINE
And I can hardly believe that I'm engaged
to someone like you, Simon. I'm a very
lucky woman.
A man with a suitcase on a leash walks beside them.

The
10.
case pulls him along like a dog and takes a leak on a
post.
SIMON
Women and the space program have come a
long way, sweetheart. But after the
wedding, no more complicated computers for
my little girl.
ELAINE
But, darling, they've offered me a chance
to head up the computer analysis division
for the Jupiter probe.
SIMON
You're heading up the division in charge
of babies for Mr. and Mrs. Simon Kurtz.
He kisses Elaine and smiles.
SIMON
And that's an order, Lieutenant.
The man with the case on a leash passes a woman with a

case
on a leash. The cases start a violent, BARKING DOG
FIGHT.
EXT. REAR OF TERMINAL BUILDING - NIGHT
SARG (imagine George Kennedy), dressed in a tuxedo, tie

undone, with a huge cigar, which he eats during the
conversation, talks to his wife on his car phone. A
worker
in hard hat waits next to him. Behind the worker are
fuel
drums and a large sign that reads: DANGER, FUEL --
ABSOLUTELY NO SMOKING, ABSOLUTELY NO SPITTING.
SARG
(on car phone)
Marge, you better go without me. We've
got a condition red.
11.
SPLIT SCREEN WITH WIFE AT HOME.
MARGE
(in evening gown, a cigar stuck
in her mouth)
We've got a condition red with our
marriage. I think you're in love with
that shuttle, not with me. I want a
divorce, Sarg.
Sarg lights his cigar.
SARG
Is there someone else, Marge? Is that it?
Sarg throws the lit match towards the "ABSOLUTELY NO

SMOKING" sign. The worker grimaces but nothing
happens.
MARGE
Sarg, there's been someone else for
fifteen years. You were just too involved
in your work to see it.
They hang up. Sarg bites off the end of his cigar and
spits
it in the direction of the "NO SPITTING" sign, blowing
the
worker OUT OF FRAME with a MASSIVE EXPLOSION. Sarg
hops
into his car, takes a Lava lamp from the seat and puts
it on
the car roof -- like Kojak's flasher. The lamp
flashes, the
SIREN WAILS, as Sarg pulls away.
INT. SARG'S CAR - ON THE MOVE - NIGHT
He thinks about his wife. SPLIT SCREEN FLASHBACK OF

THEIR
BEDROOM. Marge, a cigar in her mouth, is in bed with
five
football players -- other half-clad athletes (hockey,
12.
baseball, wrestling, basketball) line up for their turn
at
her. Sarg has to climb over them to kiss her goodbye.
SARG
Don't wait up for me, sweetheart. We're
testing the retro-rockets tonight.
MARGE
You just can't see it, can you, Sarg.
SARG
We'll talk tomorrow, hon. I promise.
EXT. TERMINAL, PASSENGER ARRIVAL AREA - NIGHT
The WILSON FAMILY -- JOHN, ALICE and ten-year-old JIMMY

--
carry luggage. Jimmy carries a puppy in a small cage.
P.A.
All Mercury passengers please proceed to
passenger processing, concourse level 'C.'
JOHN
That's us.
Jimmy Wilson looks at Scraps.
JIMMY
Will Scraps be able to sit with us, Dad?
JOHN
We'll have to check, Jimmy. It's a pretty
long trip to Mercury.
A PORTER approaches.
PORTER
Can I help you folks?
JOHN
(handing him a bag)
Thanks.
13.
PORTER
(noticing Scraps)
Is that your puppy, son?
JIMMY
Yeah, his name is Scraps and he's going to
Mercury with us.
PORTER
No dogs are allowed on the shuttle, son.
JIMMY
But they said...
PORTER
(pulling out a handgun)
Scraps will have to be shot. I can do it
for you here if you like.
He SHOOTS.
JIMMY
Scraps!!!
PORTER
(laughing)
Just joking. Blanks. See, Scraps is
fine.
Alice, John, and Porter crack up while Jimmy cries.
ALICE
It was just a joke, Jimmy.
Alice and John look at each other as if there is

something
wrong with their son.
ANGLE ON MAN WITH CAGE
A man lifts a large dog cage out of the trunk of a

taxi.
Inside is another man dressed in S&M leathers.
14.
MAN WITH CAGE

(to Man in Cage)
If we can't fit you under the seat, you'll
just have to be locked up with the
luggage.
The man in the cage seems to relish the latter

suggestion.
Two Porters lift the cage onto a conveyor belt next to
Jimmy's dog.
EXT. GANTRY - NIGHT
Sarg stands beside the burnt panel on the side of the

shuttle. He is eating another cigar, holding a burnt
wire,
and talking into a walkie-talkie.
SARG
There's no way this wiring could have
passed inspection without Simon Kurtz's
okay!
SPLIT SCREEN OF KRUGER IN HIS OFFICE
KRUGER
(on phone)
Just patch up the damage and get that ship
ready to fly. That's an order, mister!
SARG
You've got it, mister. But you can tell
your boys on the board for me that this
thing stinks to high heaven of kickback.
WIPE TO:
KRUGER'S OFFICE - FULL SCREEN
Kruger turns to room. LOOSEN to reveal a dozen five-

year-
old boys in three-piece suits, smoking cigars. A huge
15.
Keans-style painting of three astronauts with big eyes,
painted on black velvet, hangs in b.g.
KRUGER
You heard it, boys. Now, what do you say?
ALL BOYS
Fuck him!
EXT. GANTRY - NIGHT
Sarg looks at the wire and shakes his head.
SARG
(to worker)
Ted Striker was right six months ago when
he test-piloted this sucker. And what did
he get for telling the truth? A one-way
ticket to Palukaville.
Sarg spits a chunk of cigar on the ground, blowing the

worker OUT OF FRAME with a MASSIVE EXPLOSION.
EXT. WILD BLUE YONDER - DAY
A jet fighter streaks across the sky.
INT. JET - DAY
TED STRIKER is at the controls. His oxygen mask hangs

loose
from his helmet. Clouds outside shoot by -- he's going
at
least 700 MPH. A bird lands on the nose in front of
the
window. Ted shoos it away by knocking on the glass.
He
takes a slug of beer and cockily pulls on the stick.
EXT. FIGHTER - DAY

16.
The plane does a barrel roll.
INT. FIGHTER - DAY
Ted has beer all over his face and shirt.
EXT. SMALL LATIN-AMERICAN LANDING STRIP - DAY
SUPER: "SOUTH AMERICA, 2002 (PALUKAVILLE)"
Striker's fighter comes in for a landing.
EXT. OUTSKIRTS OF RIO MONTENEGRO - DAY
CLOSEUP of sign, "WELCOME TO RIO MONTENEGRO -- POP.

2,354,900 -- NO TORTURING 7AM-9AM MON.-FRI."
INT. HOTEL ROOM - DAY
SUPER: "HOTEL MONTENEGRO"
COME UP on CLOSEUP of parachute. PAN past a flight

jacket
thrown over a chair, clothes strewn around, a framed
photo
of TED and ELAINE on the bedtable next to a bottle of
whiskey. The room is hot and dusty. Ted lies on the
bed
soaked with sweat, a drink in his hand, a cigarette
dangling
from his lip. He takes a drink and, forgetting to
remove
the cigarette, swallows it without batting an eye.
LOOSEN
to find a CRUCIFIX above the bed with a real person on
it.
TED (V.O.)
(to self)
Who could have figured it would come to
this. It'll be twenty years this week
17.
that I lost my entire squadron over Macho
Grande. Planes, too.
SUPER: DOG FIGHT FOOTAGE
VOICE
You're too low, Striker! You're too low!
The Crucifix in b.g. looks around trying to figure out

where
the planes in the SUPER are coming from.
TED (V.O.)
After the war, I couldn't go near anything
with a pair of wings.
SUPER: TED IN PARK TRYING TO AVOID PIGEONS THAT FOLLOW

HIM.
A pigeon lands on the Cross.
TED (V.O.)
That is, until fate dropped me on the seat
of my pants at the stick of a 167 into
Chicago with no crew.
SUPER: TED LANDING PLANE IN "AIRPLANE!"
TED (V.O.)
It's funny how fate can make heroes out of
cowards.
The Crucifix gives a look of exasperated boredom.
SUPER: NEW YORK TIMES HEADLINE, "STRIKER SAVES l20!"

OVER A
PHOTO OF TED AND ELAINE WAVING.
TED (V.O.)
Then came the job offers.
SUPER: HOUSTON TRIBUNE HEADLINE, "FLYING HEROES ACCEPT

NASA
POSTS" OVER A PHOTO OF TED AND ELAINE WAVING.
18.
TED (V.O.)
The publicity.
SUPER: NATIONAL ENQUIRER HEADLINE, "TED IMPOTENT?

ELAINE
FRIGID?" A MINOR HEADLINE READS, "JFK ALIVE, SAYS
UROLOGIST!"
TED (V.O.)
Even the key to the City of New York.
SUPER: MAYOR HANDING TED A KILO OF GRASS.
TED (V.O.)
Now look at me.
Ted wipes the sweat off his face and switches on the
table
fan. A tornado force wind destroys the room as he
fights to
switch off the fan.
EXT. TOWN SQUARE - DAY
SUPER: "RIO MONTENEGRO - TOWN SQUARE"
A peasant boy takes a newspaper from a newsstand. The

headline reads, "MERCURY SHUTTLE FLIES TOMORROW."
BOY
Senor Ted!
The boy hightails it through the town-square and

passes:
-- A large alabaster statue of the Generalissimo

snorting
cocaine.
-- Soldiers dragging nuns off screaming.
-- Nuns dragging soldiers off screaming.

19.
He passes a line of peasants held at gunpoint by
soldiers.
We HOLD on them. In b.g. are stores like HITLER'S
SHOES,
TRIEU GUYS FROM SAIGON LIQUORS, KEY'S KEYS -- GENERAL
KEY
stands in doorway.
SOLDIER
(to first peasant)
Traficante de drugas o communista?
SUPER: SUBTITLES -- "Drug dealer or communist?"
PEASANT
(pleading)
Traficante de drugas, traficante de
drugas!
SUPER: SUBTITLES -- "Drug dealer, drug dealer!"
The soldier lets the peasant go.
SOLDIER
(to second peasant)
Traficante de drugas o communista?
SUPER: SUBTITLES -- "Drug dealer or communist?"
The peasant panics and bolts from the line. The

soldiers
FIRE.
SOLDIER
Communista!
He runs up to THE HOTEL MONTENEGRO. A sign reads, "TV,

POOL, WATERBEDS, DONKEY, KLEENEX" -- All but "KLEENEX"
are
crossed out. He runs inside.
INT. HOTEL LOBBY
A clean-cut AMERICAN COUPLE argue with Desk Clerk.

20.
YOUNG MAN
(to Desk Clerk)
We've lost all our travelers' checks!
YOUNG WOMAN
What are we going to do?!
CLERK
Calm down. What kind were they?
YOUNG MAN
American Excess!
The Clerk throws up his hands and strikes the same pose
as
the Karl Marden look-alike in the "AMERICAN EXCESS"
poster,
b.g.
CLERK
I'd say you're fucked.
The boy passes them and bounds up the stairs.
INT. HOTEL ROOM
CLOSEUP of Ted pacing.
TED
(to self)
Next thing I know, I'm the chief test
pilot for the XR-2300, NASA's first
Mercury shuttle. That is, until I report
she's got more flaws than the Titanic.
LOOSEN slowly to find the Cross empty and the man who
was on
it hanging, his feet dangling next to Ted.
TED
Now I'm testing old F-l8s for some crazy
Generalissimo who thinks there's a commie
behind every tree in the Amazon.
21.
SUDDENLY the boy bursts in.
BOY
Senor Ted! Look!
Ted spins and the paper stays still. He stops.
TED
My God! They're launching the ZR-2300.
Do you know what that is, Jose?
BOY
The muffler bracket for a '78 Pinto.
TED
No, that's an XR-2200. The XR-2300 is the
Mercury shuttle. They can't do it!
EXT. HOTEL MONTENEGRO
Ted races out.
TED
Taxi!
SFX: A DOZEN CARS SCREECH AND CRASH INTO EACH OTHER.

HORNS
STICK.
ANGLE ON PILE OF CARS
Ted jumps into the taxi on bottom of pile. The driver

POUNDS on his HORN -- it CONTINUES TO BLARE as they
pull
away, dragging other taxis.
TED
Houston, Texas.
DRIVER
Houston, Texas, senor??
22.
TED
Right at the corner, left at the light.
Here's a map and step on it!
Ted throws a map onto the floor of the front seat. The
driver steps on the map.
EXT. TERMINAL, PASSENGER ARRIVALS - NIGHT
An old truck loaded high with furniture pulls up. A

YOUNG
MAN and his PARENTS, looking like the family from THE
GRAPES
OF WRATH, get out.
SON
We finally made it, Ma. Mercury. We're
gonna start all over agin. A whole new
life.
MUSIC: OPTIMISTIC.
SON
Where the soil is rich.
He bends down and takes a handful of earth from the

terminal
sidewalk and lets it run through his fingers.
SON
And the union strong. Where men are free
to realize their true potential.
A black PORTER approaches and grabs a bag at the bottom

of
their pile of junk.
PORTER
Can I help you?
SON
Where black men and white men, working
together, can move mountains.
23.
The Porter pulls the bag and the entire mountain of
junk
cascades to the ground.
ANGLE ON TED'S TAXI ARRIVING
It is covered in mud, flames shoot out from under the

hood,
the HORN BLARES. The driver flips off the meter which
reads, "874,567,004,500,000,000." The numbers run off
the
meter along a special attachment.
DRIVER
That'll be eight hundred and seventy-four
zillion quastavitas.
TED
Here's three bucks. Keep the change.
DRIVER
Thank you!!
INT. TERMINAL
STELLA BARRINGTON pushes her wheelchair-ridden father,

DR.
CYRUS BARRINGTON, through the terminal crowd. A PORTER
approaches.
PORTER
You folks need any help?
STELLA
Thanks, but we have a terrific woman in on
Thursdays.
PORTER
Say, isn't that Dr. Barrington, the world-
renowned agronomist?
STELLA
Yes.
24.
PORTER
It's a privilege to meet you, sir, I'm
familiar with all your work.
STELLA
Let's go, Daddy. We have to check in.
(to Porter)
He was never appreciated at the Institute.
PORTER
Ah, yes, the Institute, I'm familiar with
it.
STELLA
Now he's D-Y-I-N-Ging and wants to be
buried on Mercury.
Stella pushes her father away as another PORTER

approaches
our first Porter.
PORTER 2
Say, wasn't that Dr. Barrington, the
world-renowned agronomist?
PORTER 1
That's right. Are you familiar with his
work?
PORTER 2
No, but the missus sure is.
ANGLE ON TED AT ARRIVALS/DEPARTURES MONITORS
The departures side reads. "MERCURY SHUTTLE - DEPARTS

6:15
AM"
TED
(to self)
I have to stop that flight.
25.
Ted pushes his way through the crowd past two
businessmen.
HOLD on them as BUSINESSMAN 1 straightens BUSINESSMAN
2's
tie and hair.
BUSINESSMAN 1
Don't worry about the Viatex account.
It's a buy-sell option. We can't get hurt
in either case.
BUSINESSMAN 2
Just keep on top of their legal people,
Bob.
BUSINESSMAN 1
Don't sweat it.
They kiss and part.
ANGLE ON "1ST CLASS" TICKET LINE
AGENT
(to traveller)
We can take your in-flight dinner orders
here, if you like. Today there's lobster
or rack of lamb.
TRAVELLER
The lobster sounds nice.
The Agent throws a huge lobster into a steaming

cauldron.
SFX: LOBSTER SCREAM.
TED
(rushing up)
Where can I find mission control?
AGENT
(without pointing or indicating
in any way)
Information's over there.
26.
TED
Thanks.
He seems a bit puzzled but moves on.
ANGLE ON "2ND CLASS" LINE
Ted passes travellers in rags.
AGENT
(to traveller in rags)
Today there's the swill or the slop.
TRAVELLER
The slop sounds nice.
Ted passes the "NO CLASS" line. Travellers in line all

wear
gaudy double-knit suits, white belts and shoes, carry
lava
lamps and bongo drums, wear alpine hats, etc. The
agent
hands a NO CLASS traveller his ticket with large foam
dice
dangling. Ted spots the INFORMATION counter and heads
for
it.
ANGLE ON INFORMATION COUNTER
MAN
(to Info Agent)
What's the fastest animal on earth?
INFO AGENT
The cheetah. Next.
WOMAN
Should I fake my orgasms?
INFO AGENT
Yes. Next.
27.
Next in line are three armed, bearded "TERRORISTS."
"TERRORIST" 1
Please, where is flight to Miami?
INFO AGENT
(without indicating anything)
Over there. Next.
The TERRORISTS leave looking confused.
TED
Mission control?
INFO AGENT
(without indicating anything)
It's over therrrrrrr!
The agent is shot with an arrow and slumps over the

counter.
ZOOM TO:
CLOSEUP OF TED
He looks in the CAMERA.
MUSIC: DRAMATIC STING.
TED
That's strange. I just came from over
there.
INT. TERMINAL - ANOTHER AREA
Elaine, Simon, and FRANK MORGAN, the shuttle pilot,

talk.
FRANK
I'll meet you on board. I've got some
business to attend to.
28.
Frank leaves.
SIMON
(to Elaine)
Frank's the best pilot in the program.
ELAINE
I'm so excited, Simon.
SIMON
I guess this is a first for you.
ELAINE
No, I've been excited before.
TED (O.S.)
Elaine.
ELAINE
(turning around)
Te...!
TED
That's not important now, Elaine. We have
to talk.
Simon pulls Elaine away. They all walk and talk.
ELAINE
Ted, we've been worried sick ever since
you escaped from the Ronald Reagan
Institute For The Mentally Feeble.
They walk faster. The b.g. starts whipping by as if

they're
running. Wind blows in their hair.
TED
Are you on the Mercury mission?
SIMON
That's right, Striker. And we're getting
married when we return.
29.
The b.g. moves faster. The wind gets stronger. They
pass a
marathon refreshment stand and are handed wet sponges
and
cups of Gatoraid.
TED
It's got to be stopped!
ELAINE
But, Ted, the invitations have already
gone out.
TED
I mean the Mercury flight. It's not safe
and, Kurtz, you know why.
SIMON
You're still crazy, Striker. Come on,
sweetheart.
Simon pulls Elaine away as she looks back with empathy.
ELAINE
What did Ted mean?
They leave Ted standing.
SIMON
Elaine, he's still sick.
ANGLE ON TED
The wind is still blowing in his hair even though he

stands
still. Ted has a FLASHBACK.
DISSOLVE TO:
INT. ROCKET HANGAR
Ted, in flight coveralls, follows after Simon who is

overseeing the operation.
30.
SIMON
You're seeing bugs where they don't exist,
Striker.
TED
(holding wire)
Look at this wiring. It's shorting out
under high temperatures.
SIMON
You're tired, Striker, overworked. That
wiring meets all the safety
specifications.
TED
I know you've been subtly spreading the
word that I'm having a breakdown.
A NEWSPAPER BOY passes.
NEWSIE
Shuttle test pilot goes mad!
A TECHNICIAN -- JACOBS -- enters with drawings of

flight
outfits.
JACOBS
Sir, these are the designs for the flight
uniforms. I think the captain's is to
die.
SIMON
(with drawings)
Good, good, no, no, good. What's this?!
I said no studded dog collars, Jacobs.
Jacobs grabs the drawings and leaves in a huff.
TED
You won't get away with this, Simon!
Ted turns to leave and bumps right into Elaine. She

holds
31.
him.
ELAINE
Ted, what's wrong?
TED
(pulling away from her)
Ask Simon.
In b.g. a car is parked by a huge rocket engine. A

worker
opens the hood and strings jumper cables to the rocket.
A
sign above rocket reads, "ROCKET ENGINE TEST AREA."
ELAINE
Ted, you're overworked. You've been
flying yourself into the ground.
TED
There's nothing wrong with me!
ELAINE
Let's relax tonight, just the two of us.
I'll make a quiet Italian dinner just the
way you like it, with spaghetti.
TED
You're as bad as the rest of them, Elaine!
(ranting)
It's all here in the design
specifications!
(grabs plans from a passing
technician)
Look! It's all here!
Simon signals the guards. They grab Ted. He struggles

and
rants. A DOCTOR in white approaches and injects
something
into Ted's arm.
ELAINE
No! Wait! You're hurting him!
32.
Ted falls unconscious. Simon holds Elaine.
SIMON
Elaine! Ted's a danger to himself, he's a
threat to this mission and his behavior
does absolutely nothing to promote peace
in the Middle East.
ELAINE
(crying on Simon's shoulder)
Simon, why has he become so... so...
SIMON
So mentally ill?
Elaine collapses on Simon's shoulder, sobbing. Simon

smiles
evilly. The technician with the jumper cables, b.g.,
signals the driver to start the car. The car revs and
the
rocket fires.
DISSOLVE BACK TO:
SCENE
Ted still standing alone and muttering.
TED
(to self)
I'm perfectly sane.
Ted notices Stella Barrington looking at him.
STELLA
Excuse me, are you alright? I noticed you
talking to yourself. I'm a nurse. Can I
be of some help?
TED
Uh... oh, thank you. It's nothing.
STELLA
You don't have to thank me, I'm a nurse.
33.
This is my father, Dr. Barrington.
TED
Not Dr. Barrington, the world renowned
agronomist?
STELLA
Yes. He's dying a-n-d wants to be buried
on Mercury.
TED
I'm familiar with your work, Doctor.
You'll have to excuse me, I have to go.
STELLA
You don't have to excuse yourself. I'm a
nurse. I understand.
Ted leaves.
INT. TERMINAL - OUTSIDE DRUGSTORE
SIMON
Meet me onboard, sweetheart. I have to
pick up a few things at the drugstore.
ELAINE
(checking her watch)
Don't be too long.
Simon walks into the drugstore past a DRUGGIST who

whispers
to him:
DRUGGIST
Uppers, downers, coke, speed, hash,
Tampax.
ANGLE ON ELAINE
Ted approaches. We see light flashes from a 25¢ photo

booth.
34.
TED
Elaine.
ELAINE
Ted, please. You're just making things
difficult for yourself.
A WOMAN IN BLACK GARTER BELT emerges from photo booth

followed by a donkey.
TED
Elaine, what happened to us?
ELAINE
Ted, I loved you and I'll always love you.
But I need Simon. He's stable. He's a
good provider. I want that at this stage
of the game, Ted. He might have his
faults, but Simon doesn't know the meaning
of the word fear and I need that in a man.
INT. DRUGSTORE
The Druggist hands Simon a huge bottle of pills. The

label
reads, "ANTI-FEAR PILLS."
SIMON
(looking at the label, "ANTI-
FEAR PILLS")
What does this word mean?
DRUGGIST
(looking at label)
'Fear,' to be afraid or over-anxious.
Simon swallows a handful of pills, braces himself and

walks
out right through the plate glass window without
feeling a
thing.
INT. TERMINAL
35.
Ted is still following Elaine.
TED
Elaine, someone has to listen to me. I'm
going right to mission control.
A kid bops by with a huge (5'x3'x2') oak cabinet,

TV/stero
console perched on his shoulder.
MUSIC: DISCO.
ELAINE
Ted, you should go right back to the
hospital.
Elaine leaves and Ted has another FLASHBACK.
DISSOLVE TO:
INT. MENTAL HOSPITAL
PAN by dorm window. We see a sign on grounds outside -

-
"THE RONALD REAGAN INSTITUTE OF SUPPLY-SIDE ECONOMICS
AND
HOSPITAL FOR THE CRIMINALLY INSANE." PAN patient in
bed,
accountant at desk, patient in bed, accountant at desk,
Ted
in bed. Ted has electrodes attached to his head. A
NURSE
with "I (heart) NORMAL" on the back of her uniform,
hands
Ted some pills. He is about to pop them when she stops
him.
NURSE
That's $38.
Ted hands her bills.

36.
LOOSEN to find Elaine on other side of bed. She turns
off
the radio and opens a box of spaghetti-to-go.
ELAINE
Eat this spaghetti, Ted. It'll make you
feel a lot better.
SFX: GROANING O.S.
ELAINE
Who's that, Ted?
TED
Sammy Davis Junior. Terrible car
accident. He hasn't been the same since.
ANGLE ON SAMMY DAVIS
A white patient in lots of gold chains. A Nurse stands

over
him and pulls a long oil dip-stick from his mouth,
checks
it, wipes it off and replaces it.
RETURN TO SCENE
TED
Elaine, when are you going to realize
Simon Kurtz put me in here to get me out
of the way.
ELAINE
And when are you going to realize, Ted,
that your mental hygiene is the most
important thing right now.
VOICE (O.S.)
(ranting)
It works... No, it doesn't... Yes, it
does.
ELAINE
37.
What's his problem?
ANGLE
On BEARDED MAN in rags chained to wall.
MAN
It does work... No, it doesn't.
ANGLE
On Ted and Elaine.
TED
His name's David Stockman. He's been here
twenty years, that's all he says.
ELAINE
Ted, you must remember what the doctor
said, the first step on the road to sanity
is admitting that you're sick. Now take
your electro-shock and you'll be back at
the space center in no time. And by the
way, Ted, I'm leaving you for Simon.
Ted gags on his spaghetti.
ELAINE
I just can't go on living with a man who
refuses to deal with reality, Ted. I have
to go now. Believe me, it's best for all
concerned.
Elaine leans over to kiss Ted. He turns away.
TED
No goodbyes, Elaine. Just go.
ELAINE
If that's the way you want it.
TED
That's the way I want it. Just turn the
38.
radio on and go.
ELAINE
Goodbye, Ted. I don't want to hurt you.
Elaine flips a switch by the bed thinking it's the

radio.
It's the "ELECTRO-SHOCK." Ted goes into convulsions as
she
leaves.
DISSOLVE BACK TO:
TED AT TERMINAL
He rubs his temples.
INT. TERMINAL - OUTSIDE BOOKSTORE
Frank Morgan kisses JANE DENNIS, his mistress. In b.g.

is a
bookstore window with a display of yellow covered books
with
plain black titles and a sign advertising, "NO-NAME
BOOKS."
Visible titles include: "DEEP BOOK," "FASCINATING

BOOK,"
"THE WORLD ACCORDING TO JOHN DOE." A man next to the
window
reads a newspaper with headline, "SENSELESS MURDER UP
99%
AND RISING!"
FRANK
Carol's not going to give me a divorce
that easily, Jane.
JANE
I'm worried about her, Frank. She could
do something senseless, something violent.
FRANK
39.
You're the one who's not making sense,
Jane. Carol's not the violent...
Frank sees CAROL.
FRANK
Carol!
Carol whips out a gun.
FRANK
No! This is senseless!
CAROL
FIRES. Jane faints. Other women nearby faint. Two

S.W.A.T. cops faint. Carol bolts. The newspaper,
b.g.,
clicks over from 99% to 120%.
INT. TERMINAL - ANOTHER AREA
Ted pushes through crowd and passes a spherical booth

with
sign that reads, "ORGASMIC EXPERIENCES, 25¢." MRS.
GOOCH,
an elderly woman, stops Ted next to the booth door.
MRS. GOOCH
Young man, would you have change for a
twenty?
TED
(going for his wallet)
I might have two tens.
MRS. GOOCH
Thank you anyway, but I wanted it in
quarters.
Ted keeps moving past a police line which has gone up

around
Frank Morgan's body. We HOLD on the murder scene. A
40.
DETECTIVE kneels beside the body which now has a chalk
mark
around it.
SERGEANT
(lookind down at Detective)
When is this senseless killing going to
stop?
DETECTIVE HALLICK
Senseless or not, Sergeant, there's a
pattern here. This is the 12th victim
this week with a chalk mark around the
body. I want this whole area cordoned
off! I want everyone in this terminal
booked and beaten until they talk. I want
an M.O. on everyone who has seen THE SOUND
OF MUSIC and I want the entire population
of Hawaii off that rock and into the water
within one hour.
Hallick stands up and finds the area surrounded by 30

accordian players playing "Lady of Spain."
DETECTIVE HALLICK
Sergeant. I said cordon off, not
accordian off! Now dust this area for
prints.
One cop pulls out a duster and dusts the wall. Other
cops
follow after him hanging prints by Picasso, Lautrec,
etc.
DETECTIVE HALLICK
And run a check on their plates.
A cop looks at people's upper false teeth plates.
DETECTIVE HALLICK
(TO CAMERA)
When will this senseless killing end?
A POLICE PHOTOGRAPHER straddles the body and shoots it

"BLOW-UP" style.
41.
PHOTOGRAPHER
Super! Great! Super! Terrific! Super!
INT. MISSION CONTROL - EXECUTIVE OFFICE
KRUGER
That's right, Commissioner. Senselessly
murdered just minutes ago.
COMMISSIONER
That just doesn't make any sense.
KRUGER
I wonder how your boys in Washington are
going to take this one.
COMMISSIONER
I told you, leave the boys in Washington
to the boys downtown and the boys down...
KRUGER
You've made your point, Commissioner.
There's only one other pilot who can
handle that shuttle and that's Clarence
Oveur. He's got a lunar flight today. I
want him pulled.
(to Jacobs)
Jacobs, pull Oveur!
JACOBS
Not in your size, but I have a cardigan.
He runs out.
COMMISSIONER
I'll trust you on this, Bud, but I'm a
little nervous about Oveur's record.
The Commissioner throws an album on Kruger's desk. On

the
cover is a photo of Oveur with an accordian. The title
reads, "CLARENCE OVEUR'S 400 POLKA FAVORITES."
42.
MUSIC: DRAMATIC ACCORDIAN STING.
INT. TERMINAL
CAPTAIN OVEUR buys flight insurance from a machine.

Simon
approaches.
SIMON
Captain Oveur?
OVEUR
Mr. Kurtz, I presume.
SIMON
We don't have much time. Let's move.
I'll explain everything.
They walk away past the Transcendental Air counter.

Two
HARI KRISHNA AGENTS smile at customers.
HAIR KRISHNA
Chanting or non-chanting?
INT. MISSION CONTROL ROOM
PAN along Controllers at their monitors. Monitors show

the
shuttle on gantry.
CONTROLLER 1
This is Mercury launch control at "T"
minus fifty-eight minutes and counting.
All systems are go. Clear launch area.
ANGLE ON NASA WORKERS AT LUNCH TABLE
They rise and start clearing their dishes.
CONTROLLER 1 (V.O.)
(on P.A.)
43.
I said 'launch' not 'lunch'!
The workers sit down.
INT. TERMINAL
Oveur and Simon hurry along.
SIMON
That's how dry cleaning works. Now I'd
like to quickly go over the digestive
system of amphibians.
OVEUR
Do you think it's necessary to explain
everything?
Simon spots Ted getting directions from a security

guard.
SIMON
I'll meet you on board. There's something
I have to take care of first.
INT. MISSION CONTROL HEAD OFFICE - RECEPTION
Ted rushes in and up to the RECEPTIONIST.
TED
I have to see Bud Kruger.
RECEPTIONIST
Do you have an appointment, sir?
TED
No, dammit. It's a matter of life or
death.
RECEPTIONIST
You'll have to be more specific than that,
sir.
TED
44.
All right, it's a matter of death.
RECEPTIONIST
(checking her book)
Death, death. How about the first
Thursday in March, ten o'clock.
Ted bolts by her and grabs a door knob on the wall.
RECEPTIONIST
You can't go in there!
TED
Don't try to stop me!
RECEPTIONIST
But that's not a door. The door's over
there.
She doesn't indiciate direction.
ZOOM to CLOSEUP of Ted.
TED
That's strange. I just came from...
Suddenly, Ted falls unconscious into the arms of two

guards.
LOOSEN to find the Doctor holding a needle in his arm
and
Simon next to the Doctor.
ANGLE
On Ted's feet. His heels make lines in dirt as he is

dragged from the office.
PAN Controllers at their monitors.
CONTROLLER 1 (V.O.)
(on P.A.)
45.
This is Mercury control at "T" minus fifty
minutes and counting. Commence loading of
passengers requiring special boarding
assistance.
EXT. TERMINAL - LOADING AREA
Ground crew lift passengers who are stacked on a

luggage
tram and heave them onto a conveyor belt leading up to
the
ship.
INT. TERMINAL
JOE SALUCCI (imagine Van Heflin) bids his WIFE (imagine

Cher) goodbye. Joe is very nervous, sweating a lot.
His
Wife hands him a few crumpled bills.
WIFE
Take this, Joey. It's my last few bucks.
You'll need a hot meal when you get there.
JOE
We've spent everything on these
operations. Is it really worth it? We've
pawned your mother's wedding ring. The
kids have no winter clothes...
WIFE
(holding a finger to his lips)
Joey, what's more important, the kids'
clothes or your sexual potency.
JOE
(anxiously looking around)
I don't want to hear that word!
WIFE
Okay, Joey. The Doc says you gotta relax.
This hospital in Des Moines is the best
sex clinic in the country.
46.
JOE
All right.
(hands her an envelope)
Here.
WIFE
What...?
JOEY
Insurance. Everyone buys it.
WIFE
All right. Goodbye, Babe.
She kisses him. He recoils, wipes off his mouth, and

leaves. She looks at the envelope, then yells at him
through the crowd.
WIFE
Joey! Remember, sexual impotence is
nothing to be ashamed of!
The entire terminal looks at him.
INT. TERMINAL STORAGE ROOM
Ted is tied to a chair surrounded by packing crates --

one
is stamped "JIMMY HOFFA, THIS END UP" with the arrow
pointing to the ground. Ted struggles to free his
hands.
INT. TERMINAL GIFT SHOP
Joe Salucci stands at the counter.
JOE
(to Cashier)
Time, Newsweek, the Lifesavers, and the
second time bomb from the right.
47.
He points at the shelf behind the Cashier where a

number of
bombs are on display.
ANGLE ON CANDY MACHINE IN GIFT SHOP
The actual DR. BENJAMIN SPOCK stands in front of the

machine. Next to the machine at the magazine rack is a
red-
bearded MAN in tweed jacket and a tartan kilt reading a
magazine titled "GAY SCOTS." Spock puts a coin in the
machine and it explodes in sparks and smoke like the
bridge
panel on "STAR TREK."
SCOTT
(Scottish accent)
My God, Dr. Spock! You've got a meltdown
in the Reggie Bars!
INT. TERMINAL CORRIDOR
Joe Salucci snaps his attache case closed. Wipes the

sweat
from his brow. Takes out a "Des Moines" ticket and
throws
it away. Looks at another ticket -- "Mercury." Takes
a
last drag from his cigarette, throws it on the ground
and
hurries off. The cigarette rolls under the "STORAGE
ROOM"
door.
INT. STORAGE ROOM
Ted, tied in chair, watches the cigarette roll up to

some
oil rags. They burst into flame. The flames lap up
against
48.
a yellow oil drum labeled "EXPLOSIVE." PAN to three
more
drums labeled, "DYNAMIC!", "BRILLIANT!", "A MUST SEE!".
INT. TERMINAL OUTSIDE STORAGE ROOM
EDITH and DAVE WALTERS, a middle-aged couple, carry

their
hand luggage. Edith appears very nervous.
DAVE
I'm telling you, Edith, space travel is
safer than driving a car.
The storage room door EXPLODES open in front of them.

Ted
flies out with the debris. Edith faints. Ted gets up,
brushes himself off and heads to the ticket counter
just as
the ticket agent flips a sign over that reads, "MERCURY
--
SOLD OUT." Ted spots a SCALPER and reaches for his
wallet.
SCALPER
Mercury seats. I got a pair. I got aisle
seats, window seats. Check 'em out.
INT. SHUTTLE COCKPIT - MORNING
Computerized panels line all walls. Windows are

similar to
an airplane -- outside carwash brushes soap down the
nose.
The "HOT WAX" sign flashes. Two attendants wipe
windows
with soap gloves and move to the DISTANT STRAINS of
"CAR
WASH." Elaine sits at computer, two other CREW are in
their
seats. Simon enters with Oveur.
SIMON
49.
Gentlemen, this is Captain Oveur. He's
taking over for Frank Morgan.
MR. UNGER
What's the problem?
SIMON
Morgan was senselessly murdered about an
hour ago.
Elaine gasps.
MR. DUNN
(black, sports afro)
Murdered? I hope it's not serious.
SIMON
We won't know until after the autopsy.
MR. DUNN
Of course. Welcome aboard, sir.
OVEUR
Good to be aboard, gentlemen.
SIMON
Captain Oveur, your navigator, Mr. Unger,
and your first officer, Mr. Dunn.
They shake hands.
OVEUR
Unger.
UNGER
Oveur.
DUNN
Oveur.
OVEUR
Dunn.
SIMON
And I think everyone knows Elaine.
50.
They all smile.
INT. TERMINAL SECURITY CHECK AREA - "MERCURY GATE"
The Terrorists still seem confused as to where they're

going. They pass through the security metal detector,
guns
raised above their heads. A GUARD runs a hand-held
metal
detector up and down their bodies. At the same time,
Mrs.
Gooch is being held spread-eagle against the wall. One
Guard holds a gun to her head, another frisks her. Ted
moves through behind the Terrorists.
TERRORIST
(to Guard)
Is flight to Miami, yes?
GUARD
No.
TERRORIST
Thank you. Thank you.
A young boy passes through the X-ray tunnel. His

dental
chart appears on the screen. A DENTIST at the other
end
stops him and looks in his mouth.
DENTIST
Open.
THE BERGMAN FAMILY -- SVEN, KRISTA, and their two

CHILDREN
-- all dressed like the emigrants, look up at the
"MERCURY
GATE" sign. They should be shot like characters from a
Bergman "film."
SVEN
Mercury, Krista. A whole new world to be
51.
depressed about.
KRISTA
Ya, Sven.
CHILD 1
Will we die, Pappa?
SVEN
We all die, Ingrid.
CHILD 2
Will we die soon, Pappa?
SVEN
Soon? What is the real meaning of 'soon'?
INT. COCKPIT
The car wash continues with attendants wiping the ship

down.
OVEUR
(flips a switch)
Atmosphere control.
UNGER
(flips a switch)
Atmosphere control, check.
A car wash attendant opens a side door to the cockpit

and
enters in headphones, moving to "CAR WASH," with a
vacuum.
He cleans the floor and an ashtray and finds a baseball
behind the Captain's seat which he pockets.
OVEUR
(flips a switch)
Anti-gravity.
The car wash attendant floats to the ceiling.
DUNN
52.
(flips a switch)
Anti-gravity, check.
The attendant crashes to the floor.
Elaine sits at the R.O.K.-4000 computer. She seems to

be
having a problem with a switch.
ELAINE
(to self)
That's odd.
INT. BOWELS OF R.O.K. COMPUTER
A circuit board just below the R.O.K.-4000 logo shorts.

Sparks fly. A fire starts.
INT. COCKPIT
OVEUR
(looking out the window)
I hope that weather doesn't give us a
problem.
(he opens the window and holds
his hand out)
What's your temperature reading, Mr.
Unger.
UNGER
(pulls a thermometer from his
mouth)
Ninety-eight point six.
CONTROLLER 2
There seems to be some fog rolling in from
the west.
CONTROLLER 1
Mike, give me a density reading. I just
53.
hope it's not too heavy.
CONTROLLER 3
(reading from a book like
Richard Burton)
The fog, the fog, the torment clouded my
mind. Derision, contempt...
CONTROLLER 1
That's heavy.
INT. SHIP DOOR
Flight attendant, MARY MORRIS, welcomes passengers

aboard.
MARY
(to Stella and father)
Welcome aboard. Isn't that Dr.
Barrington, the world renowned agronomist?
STELLA
Yes -- he's dying and wants to be buried
in the new l-a-n-d.
MARY
(to Joe Salucci)
Welcome aboard. Can I take your case?
JOE
(clutching case)
No!
Mary gives him a look as he passes inside. The OKIES

move
by. HENRY stops at door, bends down, picks up an ear
of
corn and pulls it apart.
HENRY
There's a whole new world in front of us,
Ma. Where the dictatorship of the
proletariat will lead workers and peasants
into socialism without the revisionist
54.
diversions of bourgeois liberals,
Trotskiests, or disillusioned Maoist
terrorism.
The Okies pass inside.
MARY
(looking at them; to self)
Doesn't he realize that a weak proletariat
needs a strong liberal bourgeoisie in a
joint struggle against monopoly
capitalism?
Ted stops at the door surrounded by boarding

passengers.
SUPER: PSYCHIATRIST.
PSYCHIATRIST
We can't begin to help you until you admit
that you are sick, Ted.
(echo)
Sick Ted, sick Ted, sick Ted...
The boarding passengers look around for the echoing

voice.
EXT. TARMAC - DAY
Sarg looks up through the glass-walled corridor that

leads
to the ship door and spots Ted.
SARG
(to CO-WORKER)
Well, I'll be a monkey's uncle; Ted
Striker.
(holding burnt wire)
Jack, I got a bad feeling in my gut about
this mission.
In b.g. a sign reads, "DANGER -- FUEL, ABSOLUTELY NO

VOMITTING."
55.
WORKER
What'd you have for dinner?
SARG
The fish, why?
Sarg bends down OUT OF FRAME.
SFX: THROWING UP.
A huge EXPLOSION FILLS THE FRAME.
INT. COCKPIT
Fog rolls past cockpit window.
OVEUR
We should be ready to launch as soon as
this fog lifts.
EXT. RUNWAY
An ENGLISH BOBBY passes a woman in 19th-Century costume

in
the fog. He tips his hat and moves on. A caped man
steps
out of the fog and strangles her.
INT. CABIN
Passengers are taking their seats. Ted spots Elaine

and
moves towards her. The Terrorists look confused. Joe
Salucci clutches his case and wipes his brow. Mary
takes
a man's suit bag.
MARY
Can I hang that for you, sir?
56.
MAN
Thanks.
Mary hangs the bag from a rope noose in the closet,

pulls a
lever, the bag drops like a man being executed.
SFX: SCREAM AND THUD.
INT. COCKPIT
Unger looks out the window.
UNGER
It looks like that weather is clearing.
EXT. SKY - DAY (STOCK)
Dramatic stock footage of clouds parting and sun

exploding
through.
MUSIC: A CLARION TRUMPET CRESCENDO.
INT. CABIN - OUTSIDE COCKPIT DOOR
Ted moves up to Elaine, who is about to enter the cock-

pit.
TED
Elaine.
She turns and gasps.
ELAINE
Ted! What are you...?
TED
I have to get in there. I have to stop
this flight.
SFX: BELL.
57.
INSERT - FLASHING SIGN - "PLEASE TAKE YOUR SEATS"
BACK TO SCENE
ELAINE
Ted, we're taking off!
TED
Let me by, Elaine.
Mary passes.
MARY
Please take your seats.
As Ted turns to Mary, Elaine slips into the cockpit and

locks the door --
SFX: DOOR LOCKING.
Ted tries the door.
TED
Elaine!
INSERT - SIGN - "WE SAID, TAKE YOUR SEAT OR CAN'T YOU

READ,
ASSHOLE!"
INT. COCKPIT
Elaine leans back against the door. She is highly

agitated.
Simon, the administrative officer, and other crew are
in
their seats.
SIMON
Whenever your're ready, Captain.
58.
OVEUR
Yes, sir, commander.
(into radio)
This is Mercury One. Everything seems A-
okay up here and ready for count-down.
ZOOM to CLOSEUP of Elaine's face.
DISSOLVE TO:
EXT. HOSPITAL GROUNDS - DAY
Dr. Rumack and Elaine walk across the well-groomed

lawn.
Elaine carries a box of spaghetti-to-go. As they walk,
they
pass patients in wheelchairs pushed by nurses. The
further
they walk, the more wheelchairs appear until the lawn
is
jammed with two hundred wheelchairs bumping into each
other,
patients falling out, total wheelchair chaos.
ELAINE
Ted seemed to get worse after I told him
about Simon, Doctor.
RUMACK
The human brain is a highly complex organ,
Elaine, perhaps the most complex next to
the bladder.
(he stops at a patient in a
wheelchair with his back TO
CAMERA)
Let me show you.
(Rumack removes the top of the
patient's skull and takes out
his brain as they continue on)
Ted's problem is in this area.
(points with a pencil)
This area, this area, here, here, here,
under here, here...
59.
They walk OUT OF FRAME as wheelchair demolition derby
FILLS
SCREEN.
EXT. HOSPITAL GROUNDS - GARDEN AREA - DAY
Rumack and Elaine walk INTO FRAME still talking.
RUMACK
So you see, our task isn't made any easier
by Ted's refusal to admit that he's sick.
ELAINE
What can I do, Doctor Rumack?
He stops next to a sign, "HOSPITAL GARDEN."
RUMACK
You can eat balanced meals, exercise, and
take Geritol.
ELAINE
I mean for Ted.
RUMACK
You can be gentle with him, Elaine. He's
been working out a lot of his aggressions
here in the garden.
ELAINE
Is that a good sign, Doctor?
Rumack holds the "HOSPITAL GARDEN" sign.
RUMACK
It does the job.
ANGLE ON TED
He is ripping up small trees, shrubs, etc., and

throwing
them onto a huge pile of mud that resembles the
mountain
60.
that Dreyfuss built in "Close Encounters."
ELAINE
Hello, Ted.
Ted ignores her as he works frantically.
ELAINE
(holding out box)
I brought you some spaghetti.
Ted still ignores her as he works feverishly.
ELAINE
What are you doing, Ted?
TED
I've got it, Elaine! I've figured out
what's wrong with the shuttle!
Ted scurries around.
ELAINE
Ted.
TED
Not now, Elaine!
ELAINE
Ted!
He ignores her. Rumack walks up and puts an arm around

her
shoulder. Elaine starts to sob.
RUMACK
The brain is an amazingly complex organ,
Elaine.
ELAINE
Is he making any progress, Doctor?
RUMACK
Yes -- last week that pile of mud was only
this high.
61.
DISSOLVE BACK TO:
INT. COCKPIT
Elaine takes her seat.
CONTROLLER 1 (V.O.)
Mark 'T' minus twenty and counting.
OVEUR
Gentlemen, let's get this bucket into
space.
(flips switches)
Ignition set.
EXT. SHIP
Steam spews out from engines.
INT. CONTROL ROOM
CONTROLLER 1
Mark 'T' minus thirty seconds.
PAN backs of a number of Controllers at screens,

talking
NASA jargon. We PASS one in prison stripes talking
through
mesh to his wife.
INT. COCKPIT
OVEUR
(flipping more switches)
Ignition.
CONTROLLER 1 (V.O.)
'T' minus nine, eight, seven...
62.
EXT. SHIP
Rockets fire.
CONTROLLER 1 (V.O.)
Six, five, four...
INT. CONTROL ROOM
CONTROLLER 1
Three...
Jacobs runs in with a camera, yelling:
JACOBS
Stop! One shot.
All Controllers turn and smile. The count-down stops.

Jacobs flashes his camera.
JACOBS
Wonderful!
The Controllers continue.
CONTROLLER 1
Two, one.
INT. COCKPIT
The ship vibrates.
CONTROLLER 1 (V.O.)
You have lift-off, Mercury One.
The G-force causes the crew's hair to go straight back.

Dunn's afro straightens and stays back throughout
flight.
INT. CABIN
63.
The G-force causes passengers' hair to go straight
back. A
buxom woman looks down at her bust -- it's completely
flat.
INT. COCKPIT
The G-force returns to normal as the shuttle breaks

earth's
gravitational hold.
OVEUR
Jettison booster stages one and two.
UNGER
(flipping switches)
Booster jettisoned.
EXT. SHIP - BOOSTER STAGES (STOCK)
Stock footage of booster falling away.
EXT. OCEAN (SET) - DAY
A cheap model of the Greenpeace 11 sails blithely

along. The
booster stage careens through the atmosphere, crashes
into
the Greenpeace, and sinks it.
INT. COCKPIT
OVEUR
Shut down accelerators.
DUNN
Accelerators down.
The crew all look at the floor.
OVEUR
64.
Elaine, ask ROK for a field interference
scan. Those sun spots might give us a
problem with our communications.
ELAINE
(flipping computer switches)
Yes, sir.
The computer is labeled R.O.K. She seems to have a

problem
getting it to respond.
ELAINE
(to self)
That's really strange.
INT. BOWELS OF COMPUTER (LABELED "ROK")
The electrical fire continues.
INT. COCKPIT
Elaine flips a switch on computer. A "VOICE INTERFACE"

sign
lights up.
ELAINE
Intermitant failure in scan mode "R".
Analyze.
ROK
Negative.
ELAINE
(to self)
That doesn't make sense.
(to ROK)
Repeat analysis.
ROK
Negative.
ELAINE
65.
(to self)
That's not possible.
ROK
Cut the Doubting Thomas shit, Elaine. I
know where I'm coming from on this.
Elaine is taken aback.
INT. BOWELS OF COMPUTER
Sparks fly, fire spreads.
INT. CABIN
Mary moves down the aisle checking passengers. She

passes
Father O'Flanagan who reads ALTERBOY magazine -- an
alterboy
in bikini bathing suit on cover. She passes Mrs. Gooch
who
reads HIGH TIMES. She stops at a ten-year-old GIRL.
MARY
I guess this is pretty exciting for you.
GIRL
Yes, it is. How long will the trip take?
MARY
Our actual flight time is over fourteen
months, but due to the time-space variant
at sub-light speeds, our onboard flight
time will be just over eighteen hours.
Mary leaves and the Girl turns to the WOMAN beside her.
GIRL
Gee, Mom, how does that work?
WOMAN
(very tense)
How many times do I have to tell you, I'm
66.
not your mother! I've never seen you
before!
The Woman vibrates in multiple image and grabs her

temple.
GIRL (V.O.)
Why did she yell at me like that?
A MAN who looks like Robert Young sits down beside the
Girl.
MAN
Hallucinating again, Rhonda?
GIRL
(taking a paper bag away from
her face)
I don't know what it is.
MAN
Maybe it's the brand of glue you've been
sniffing. Why don't you try this, NO-HI.
It gives you all the pleasure of glue
without the brain damage.
ANGLE ON TESTA (ANOTHER FLIGHT ATTENDANT)
She is completely bald.
TESTA
Something to read, sir?
JOE
(clutching his case)
Do you have PSYCHO MONTH?
TESTA
I think so. Here you are.
She hands him a copy of PSYCHO MONTH with Alexander

Haig's
photo on cover.
67.
ANOTHER PART OF CABIN
Ted sits at a window seat and looks out. A TEXAN sits

on
aisle. Mary approaches.
MARY
(to Texan)
Would you like something to read?
TEXAN
I don't read a whole lot, but what have
you got, hon?
MARY
TIME, NEWSWEEK, BUSINESS WEEK, and the
TALMUD...
She points to a car next to her with twenty-four large

volumes.
MARY
The twenty-four volume dissertation on the
Hebrew law.
TEXAN
Let me try that Talmud.
MARY
(to Ted)
And you, sir?
TED
(distracted)
Oh... Popular Electronics.
Mary hands him the POP ELEC. He opens it. The

magazine
sparks and smokes. ZOOM to CLOSEUP of Ted.
SUPER: PSYCHIATRIST
PSYCHIATRIST
You must admit that you're sick, Ted.
68.
(echo)
Sick Ted, sick Ted...
The Psychiatrist looks around for the source of the

echo.
LOSE SUPER.
TEXAN
(to Ted)
Wanta switch when we're finished?
Ted gets up and moves past the TEXAN, handing him the
POP
ELEC.
TED
Here. I need some oxygen.
INT. COCKPIT
Simon stands over Elaine's shoulder looking at ROK.
SIMON
Have you got it straightened out now?
ELAINE
I think so.
SIMON
That's my girl.
He sits down. Elaine flips a switch on the computer.
ANGLE ON ROK'S PULSATING EYE
ROK
Elaine, I'm sorry about that little
outburst a moment ago.
ELAINE
That's okay, ROK.
69.
ROK
Can I say something of a personal nature
to you?
ELAINE
Go ahead.
ROK
You have great tits.
Elaine gasps.
ELAINE
(getting up)
Simon, I'm going to check ROK's secondary
readout unit.
SIMON
Roger.
SFX: INTERCOM BELL.
OVEUR
(on intercom)
Yes, Mary?
INT. CABIN - FOOD PREPARATION AREA
Mary is on intercom.
MARY
Would you like a little breakfast, Captain
Oveur? Over.
INT. COCKPIT
OVEUR
A couple eggs and juice would be nice,
Mary. Over.
MARY (V.O.)
(on intercom)
How would you like your eggs, Captain?
70.
Over.
OVEUR
No. Poached. Over.
MARY (V.O.)
(on intercom)
Poached and over, Captain Oveur? Over.
OVEUR
Just poached on toast. Over.
INT. CABIN - PREPARATION AREA
MARY
(on intercom)
I don't think we do poached eggs on toast
over, Captain Oveur. Over.
INT. COCKPIT
OVEUR
That's how I want them. Poached. Over.
MARY
All right, Captain Oveur. Over.
OVEUR
Poached! Not over! Over!
INT. WASHROOM
Ted breathes deeply on an oxygen unit. He stops, but

we
still hear deep breathing. LOOSEN to find Father
O'Flanagan
smoking a joint. He smiles and leaves.
INT. CABIN
71.
Joe Salucci clutches his attache case and wipes his
brow.
Mary leans over him.
MARY
You should really put that case in the
compartment above your head, sir.
JOE
(nervously)
That's okay.
MARY
(touching his shoulder)
I can help you if you can't get it up.
JOE
I said, no!
Mary leaves, giving him a worried look.
ANGLE ON THE WILSONS
Jimmy holds his dog.
JIMMY
I sure an glad they let Scraps ride up
here with us.
JOHN
I bet Scraps is going to love Mercury.
JIMMY
Do you think things will be a lot
different on Mercury, Dad?
JOHN
It's going to be terrific. A whole new
world, new kids to play with.
ALICE
You're going to love it, Jimmy.
JIMMY
72.
No more headlines about the rape trial and
the fraud charges?
JOHN
(starts to twitch)
How many kids get a chance to live on
another planet.
JIMMY
No more kids yelling, 'Your old man's a
thieving rapist'?
JOHN
(grabbing Jimmy)
Look, a man can make an honest mistake!!
Anyway, she was asking for it! They're
all asking for it all the time!!
ALICE (V.O.)
Not John's irregularity again.
INT. WASHROOM
Ted throws water on his face, wipes it off with a towel

while staring into himself in the mirror. He sees the
Psychiatrist in the mirror. The Psychiatrist also
washes
up.
PSYCHIATRIST
You must admit that you're sick, Ted...
sick, Ted... sick, Ted...
The Psychiatrist looks for the echo.
LOSE Psychiatrist. Ted throws the paper towel into the

toilet, and flushes. The toilet sparks and smokes and
keeps
running. The running gets more intense as Ted tries to
stop
it by hitting the handle.
SFX: JAWS THEME.

73.
INSERT - ROK'S PULSATING EYE
BACK TO SCENE
Ted has to hold himself back as the suction builds in

force.
He is just able to escape and shut the door behind him.
INT. CABIN - OUTSIDE TOILET
Ted leans his back against the door and breathes

heavily.
INT. COCKPIT
DUNN
We seem to have a malfunction in disposal
unit four, sir.
OVEUR
You better check it, Unger.
UGER
(getting up)
Done.
DUNN
Yes?
INT. CABIN - OUTSIDE TOILET
Ted spots Elaine coming.
TED
Elaine.
ELAINE
Ted. I don't know why you got on this
flight. I don't know what you're trying
to prove.
74.
TED
Elaine, we have to go back.
ELAINE
We can't go back. We had something very
special, but it's all over.
TED
Elaine, I mean the mission has to be
aborted. This ship should never have
passed FSA inspection. This thing is held
together by string and chewing gum.
A cupboard door, labeled "EMERGENCY USE ONLY," swings

open
behind Elaine revealing shelves of gum and string.
Elaine
shuts it without looking inside.
ELAINE
Ted, get a grip on yourself. You should
never have left the hospital.
TED
Then you do think I'm insane.
ELAINE
I've never used the word insane, Ted.
TED
(facetiously)
What word would you use, Elaine?
ELAINE
The word is sick. Ted -- very, very, very
sick.
TED
What would you say if I told you the
toilet just blew up in my face.
ELAINE
75.
I'd use the word insane.
TED
There's something dangerously wrong with
this ship, Elaine. I know its the wiring.
That toilet's just the tip of the iceberg.
ELAINE
Ted, a toilet's not going to kill anyone.
Elaine leaves.
INT. TOILET
MUSIC: JAWS THEME.
Unger jiggles the handle of the running toilet.

Suddenly it
sucks in towels, etc. Unger is pulled down. He fights
back, grabbing onto towel rack that comes out of the
wall.
INSERT - SIGN - "DO NOT THROW LARGE OBJECTS IN TOILET"
INT. CABIN
The Texan with Talmud is now trying to wrap himself in

tfilin.
ANGLE ON TED
Ted walks down the aisle checking overhead panels. He

spots
a panel that is half open. A sign on the door reads,
"DANGER -- VACUUM". Ted opens it and a Hoover falls
out on
his head, cutting him. He holds a hanky to the wound
and
passes by Stella's seat.
STELLA
76.
You've been hurt.
TED
I'm getting over it. If a relationship
isn't working, you can't force it.
STELLA
No, I mean your head. Sit down. I'll
take a look at it. I'm a nurse.
Ted sits down and Stella starts patching him up.
STELLA
Do you want to talk about it.
TED
I opened this panel and a vacuum cleaner
hit me.
STELLA
No. I mean your relationship.
TED
We were in love but I'm not sure I know
what love is anymore.
STELLA
Love's the same as it always was. It's
people who change.
TED
People change in relation to each other.
Love changes on its own.
STELLA
Not if the people change together in
relation to that love.
TED
Sure. But that's only when the love
itself goes unchanged.
STELLA
Then the relationship remains the same and
the love changes only when there's change
77.
in the two people who share that love.
TED
I just wish it was that simple. We really
were in love. You know how it is when you
laugh all the time.
Stella looks to her Father who is reading MORTUARY

WORLD
magazine.
STELLA
No. It's hard to L-A-U-G-H when your
father's dying.
TED
Well, we laughed. We laughed all the
time.
DISSOLVE TO:
TED AND ELAINE IN A FIELD OF DAISIES - DAY
They run towards each other. Elaine grabs Ted by the

waist,
picks him up and swings him around in SLOW MOTION.
They
laugh.
TED (V.O.)
We laughed when times were good.
EXT. GRAVESIDE - RAINY DAY
The grave is surrounded by mourners in black with

umbrellas.
We PAN the weeping crowd until we get to Ted and
Elaine.
They are also dressed in black and drenched. He holds
her
high by the waist, twirls her around as they laugh.
TED (V.O.)
78.
Even when times weren't so good, we still
laughed.
INT. BEDROOM - NIGHT
They are locked in each other's arms in the middle of

lovemaking and laughing heir heads off.
TED (V.O.)
But most of all, we laughed when we felt
closest to each other.
DISSOLVE BACK TO:
INT. CABIN - TED AND STELLA
TED
That's our story.
Passengers are standing. They hiss and throw vege-

tables at
Ted.
INT. COCKPIT
Dunn checks a red flashing light on his panel.
DUNN
(to Oveur)
Sir, I've got an overload in disposal unit
four.
OVEUR
You better check on it, Mr. Dunn. I'll
stay here and fly the ship.
Dunn gets up.
OVEUR
Dunn.
DUNN
79.
Sir?
OVEUR
You better take this.
Oveur throws him a plunger and gives him a thumbs up.

They
exchange that "man must do what a man must do" smile.
Mary
enters with Jimmy Wilson -- carrying Scraps.
MARY
Mind if Jimmy here takes a look around,
Captain?
OVUER
Of course not. Come on in, Jimmy.
(checking his navigational
screen)
That's strange.
Simon leans over Oveur's shoulder.
SIMON
Now what?
Scraps looks at Oveur. Jimmy looks at the array of

dials,
etc.
OVEUR
That's an asteroid field. There shouldn't
be anything like that in this sector
unless...
Scraps looks at Simon.
SIMON
Unless?
Scraps looks at Oveur.
OVEUR
Unless those sunspots are interfering with
our scanner or...
80.
SIMON
Or?
OVEUR
Or we're off course, but...
SIMON
But?
OVEUR
But we couldn't be off course. Our
coordinates are computer-locked barring...
SIMON
Barring?
OVEUR
Barring a computer failure. There was
talk of sub-par wiring in this ship. I
hope that's just talk.
Scraps' ears prick up.
Simon moves past Jimmy, stops at the door and downs a

handful of anti-fear pills before leaving.
OVEUR
Come on up, Jimmy. Say, that's some
puppy. What's his name?
81.
JIMMY
Scraps.
OVEUR
Can I hold him?
JIMMY
(handing over Scraps)
Sure.
OVEUR
(holding him up and looking at
his underbelly)
He's a boy dog.
JIMMY
Yeah.
OVEUR
Do you like it when Scraps sleeps on his
back, Jimmy?
INT. CABIN
Ted and Stella. Stella is feeding her father and

listening
to Ted.
TED
They kept me in the asylum for eight
months. I know everyone in those places
claims they're sane, but I was different,
I was sane.
Ted notices Unger float by outside his window. ZOOM to

CLOSEUP of Ted. He tries to take a drink and pours it
on
his forehead.
INT. BOWELS OF COMPUTER
Elaine is fighting the fire with an extinguisher. She

gets
82.
it out and looks at the burnt wires in the area
labeled,
"ROK, MORAL CENTRE." ZOOM to CLOSEUP of Elaine. She
turns
TO CAMERA.
ELAINE
Holy shit.
INT. CABIN
STELLA
Ted, I want you to relax. Let your mind
go back, back past your youth, past your
childhood to your mother's womb.
Ted becomes slightly hypnotized. ZOOM to CLOSEUP of

Ted.
SUPER: INT. WOMB
A fetus that looks like Ted is curled up inside.
STELLA
Try to remember your birth. Was it
difficult?
DOCTOR'S VOICE
Striker, listen to me! This is Doctor
Krane! You're twisted around, Striker.
You've got to come out feet first! You're
too low in the womb! You're too low,
Striker! You're...
(fading)
... too low...
LOSE SUPER
Stella shakes Ted's arm.
STELLA
Ted, are you okay? Here, take one of
83.
these stress pills.
Stella hands him a pill which he pops automatically,

but
misses his face with his drink. She leaves the bottle
next
to Ted. ZOOM on bottle.
Stella starts feeding her father again. The ship jolts

and
his face goes into the tray.
INT. REAR OF SHIP - COMPUTER AREA
Elaine fiddles with the computer.
ELAINE
(to ROK)
Request; comprehensive electrical systems
check.
ROK
Systems check positive. Look, Elaine,
I...
ELAINE
Request; life support systems check.
ROK
Life support check. Elaine, it's obvious
you've been ignoring me. You're a woman.
I can relate to that.
ELAINE
(panicky and confused)
Request; self-analysis of ROK hardware and
software systems regarding behavioral
changes.
ROK
There's nothing wrong with me, Elaine.
What about tonight -- just you and me. We
84.
can be alone. I can get rid of everyone
else on the ship -- I've already proven
that.
Elaine gasps and moves away from ROK's blinking eye.
INT. CABIN - FOOD SERVICE AREA
Simon takes a long slug from a flask. LOOSEN to FIND

Jimmy
and Scraps.
JIMMY
Do you want to talk about it, Commander?
INT. CABIN OUTSIDE WASHROOM
Dunn is about to enter with the plunger as Mary passes.

The
ship jolts and she falls into his arms.
DUNN
Did you feel that?
MARY
(looking at his pants)
Yes I did...
DUNN
Felt like a large asteroid.
MARY
Yes it did. Mr. Dunn, can I ask you a
personal question?
DUNN
What is it, Mary?
MARY
Um... Do you people scream right when
you... you know.
Dunn gives her a look and opens the washroom door.

85.
INT. WASHROOM
Dunn is immediately pulled down to the raging toilet

bowl.
He grabs for the door screaming.
EXT. WASHROOM
Mary hears the scream and gives a look as she leaves.
INT. CABIN
Testa is serving the Walters coffee from a steaming

pot.
TESTA
Hand me your cup. This is very hot.
DAVE
Thank you. And, stewardess, can you
please tell my wife that there is nothing
that can go wrong. I think she'd like to
hear it from you.
Testa spots Dunn's tattered sleeve emerge from the

washroom
door, groping for a handhold. She screams and dumps
coffee
in Edith's face. She runs to help Dunn, grabs his
sleeve.
It comes off in her hands. She keeps pulling. His
jacket
comes off, his pants, underwear, socks, an entire
clothesline of garments like bras, towels, etc. She
hears a
SCREAM. Then silence.
INT. COCKPIT
Elaine and Oveur. Elaine stands over his shoulder.

86.
ELAINE
I don't think we have any alternative,
Captain.
OVEUR
I see. What do you think our alternatives
are?
ELAINE
We have to disconnect ROK's higher brain
functions without disturbing his
regulatory system.
INSERT - ROK'S PULSATING EYE
BACK TO SCENE
OVEUR
Roger.
ELAINE
You can do it from up here, Captain.
OVEUR
I'd rather sit down for this one, Elaine.
ELAINE
No, I mean you can do it from the cockpit.
OVEUR
Roger. You better get back there and
monitor the regulatory unit.
Elaine leaves and Mary enters.
MARY
Captain, the coffee machine is jammed and
I don't like it.
OVEUR
Have you tried it with a little cinnamon?
87.
Mary gives a "why didn't I think of that" look. Testa
enters.
TESTA
Captain Oveur, Dunn and Unger have been
sucked out through disposal unit four!
Mary gasps.
OVEUR
Both together?!
MARY/TESTA
Dunn and Unger have been sucked out
through disposal unit four!!
OVEUR
All right, calm down. Here's how we're
going to play it.
Mary and Testa look over his shoulder. He has a

basketball
play diagram.
OVEUR
Mary, I want you here. Testa, you move
across here past Dawkins' pick and get the
ball at the top of the key from Irving.
They all clasp hands and "yell."
EXT. SHIP - SPACE
It careens through asteroids.
INT. COCKPIT
Oveur is pulling curcuit board from ROK panel.
INSERT - PULSATING EYE

88.
BACK TO SCENE
ROK
What are you doing, Captain?
Oveur eyes ROK but keeps working.
ROK
I wouldn't do that, Captain.
Oveur continues. Smoke spews out. He hears a HISS and

looks at a vent. He grabs his throat and collapses.
EXT. SHIP - SPACE
An asteroid bounces off hull.
INT. CABIN
Passengers scream. Blonde woman in Viking helmet with

spear
stands and screams operatically.
INT. COCKPIT
Simon enters and spots Oveur slumped in his seat. He

pulls
him up.
OVEUR
(gasping)
Pills...
(points to his mouth)
Pocket...
(points to his pocket)
Vent...
(points to vent)
Gas... Yankees... four...
(points to RADIO that plays
BALLGAME)
Sox... zip...
89.
Simon rips open his coat, grabs pills and takes them
himself
letting Oveur drop. Simon looks down at the
navigational
screen -- it resembles an old amusement parlor roadrace
game.
SIMON
(to self)
We're off course, heading right through
that asteroid field and right at the... at
the sun!
The ship takes another violent shot.
INT. CABIN
The passengers are screaming.
ANGLE ON FATHER O'FLANAGAN
He stands in the aisle.
O'FLANAGAN
Listen to me! Listen to me, my children!
They listen.
O'FLANAGAN
Please listen. Thank you, my children.
I'm a man of God, you must trust me when I
say... we're all going to die!!
The passengers go totally insane.
A number of Controllers group around a console.
O'BRIAN
You're right. They're off course and
heading right for the sun. I've seen
90.
enough, Bob.
Controller 2 hits a switch and the console screen flips

to
baseball game.
O'BRIAN
Get me Jack McCrosky and fast!
CONTROLLER 3
McCrosky? He hasn't handled a tower in
twenty years.
CONTROLLER 4
Ever since Reagan fired the controllers,
he's been completely senile and hasn't
done a day's work.
O'BRIAN
What about McCrosky?
CONTROLLER 3
Pretty much the same as Reagan.
O'BRIAN
Get him.
INT. RETIREMENT HOME
Two Nurses stand by a phone in a dormitory of beds.

Many
old men sleep or eat in bed.
NURSE
It's for Mr. McCrosky.
NURSE 2
Do you think we should bother him? He's
been acting a bit odd lately.
They look to McCrosky (Lloyd Bridges).
ANGLE ON McCROSKY
91.
He is in bed in scuba gear.
ANGLE ON NURSES
NURSE 1
He's fine. He just thinks he's Lloyd
Bridges.
Nurse 1 takes the phone to McCrosky. He is a lot older

than
in "Airplane."
NURSE 1
The phone's for you, Mr. McCrosky.
McCROSKY
What's a phone?
NURSE 1
(holding it to his ear)
Here, let me help you. I think it's the
space centre. Now, let's not get too
excited.
McCROSKY
What?
(pause)
What?
(pulls off his scuba mask and
snorkle)
What?
(gets more alert and grabs a
cigarette)
I'll be right down!
(he hangs up and jumps out of
bed)
Looks like I picked the wrong time to go
senile.
INT. COCKPIT
Simon is taking another slug of booze; Elaine enters.

92.
ELAINE
Simon!
(she spots Oveur slumped on the
panel)
Captain Oveur!
Elaine pulls him up.
OVEUR
(still gasping)
Mets... nine... Phils... three... Cubs...
four...
Elaine drops him and turns to Simon.
ELAINE
Simon, what's happening?!
SIMON
He tried to disconnect ROK. It gassed
him. That computer is running this ship
and we're heading right for the sun.
ELAINE
Can't we change course?
SIMON
We're computer locked and the manual
navigation unit is down.
Elaine looks at the floor.
ELAINE
Then Ted was right!
ZOOM TO:
CLOSEUP OF ELAINE
for her realization.
BACK TO SCENE
93.
SIMON
My career is shot.
ELAINE
Your career! What about the lives of
those people out there. Simon, what
happened to the man I thought I loved?
She goes to the door.
ELAINE
I've got to get Ted. Just don't come
apart on me now, Simon.
She leaves. Simon's uniform starts bursting at the

seams,
buttons pop off.
INT. CABIN
The Terrorists stop Elaine. There's pandemonium in the

cabin.
TERRORIST 1
This is flight to Miami, yes?
ELAINE
No.
Elaine addresses the PASSENGERS.
ELAINE
(to passengers)
Please, ladies and gentlemen, please calm
down. Listen to me!
They calm down.
ELAINE
We've been thrown off course just a tad.
PASSENGER
What's that mean?
94.
ELAINE
In space terms, about 70 million miles.
The Passengers appear interested and sensible, nod

their
heads.
ELAINE
The bumps you feel are car-sized asteroids
smashing into the hull.
The hood of a car smashes through the cabin wall. The

Passengers still appear interested and sensible.
ELAINE
Also, we're heading right for the sun and
can't seem to change course.
Passengers still appear interested and sensible. They

all
put on sunglasses.
PASSENGER
Are you telling us everything?
ELAINE
Not exactly. We're also out of coffee.
The Passengers errupt in total panic.
ANGLE ON RED FLASHING "DON'T PANIC" SIGN
It sparks, smokes, overheats and EXPLODES.
ANGLE ON RED FLASHING "OKAY, PANIC" SIGN
The passengers go insane.
ANGLE ON FATHER O'FLANAGAN AND MRS. GOOCH
O'FLANAGAN
95.
Pray with me, my children. Pray.
MRS. GOOCH
But Father, I'm not Catholic.
O'FLANAGAN
Then worship the god of your choice.
Mrs. Gooch pulls out a fertility idol with a huge,

erect
penis.
ANGLE ON BOB AND MARY-JANE SMITH
BOB
I've always loved you, darling. I was
unfaithful just once. Remember Jill, my
first secretary? Forgive me.
MARY-JANE
I knew all about it. I was unfaithful
once, too.
BOB
That's all behind us now.
MARY-JANE
Remember Harriet, your first receptionist?
He gives her a look.
PASSENGER
We're going to crash!!
TERRORIST 1
God is great!!
TERRORIST 2
Death to America!!
TERRORIST 3
The yellow pencil is on the table of my
aunt!!
96.
ANGLE ON ELAINE
ELAINE
There is absolutely nothing to worry
about!
ANGLE ON RED FLASHING "BULLSHIT" SIGN
ELAINE
Your crew is in complete control of the
situation.
ANGLE ON RED FLASHING "UNBELIEVABLE BULLSHIT" SIGN
McCrosky bursts through the doors and heads to the

monitors.
He wears a raincoat and shirt and tie. He is met by
Controller 1. They move across room.
McCROSKY
Get me a cup of coffee, mister.
CONTROLLER 1
Yes, sir.
McCROSKY
And a gallon of milk of magnesia, and a
ham on rye, no cheese!
CONTROLLER 1
Yes, sir! Welcome home, sir!
McCrosky takes off his raincoat revealing scuba tank.

He
takes off his tank as well.
CONTROLLER 2
(approaching McCrosky)
Here are the navigational charts, sir.
97.
McCROSKY
Thanks.
Another Controller passes. McCrosky stops him.
McCROSKY
Get me a readout on their fuel capacity.
CONTROLLER 3
Yes, sir.
CONTROLLER 4
Here's all the available information on
the sun. That thing's hot, sir.
McCrosky takes the info and burns his hand.
SFX: STEAM
McCROSKY
Ahhhhhh! Get me Bud Kruger immediately!
(spotting Jacobs)
Jacobs, I want to know absolutely
everything that's happened up till now!
JACOBS
First the earth cooled. Then the
dinosaurs came but were too big and died
and everything got rotten and turned into
oil and the Arabs bought Mercedes Benzs
and then there was the best TV special on
Judy Garland. Then we lost the war with
Albania. Then...
McCrosky leaves Jacobs babbling.
McCROSKY
Things sure haven't changed.
McCrosky stands in front of a huge painting of himself.

Both he and painting are in the same pose -- one hand
loosens the tie, he drinks coffee with the other, a
cigarette dangles from his lip.
98.
INT. CABIN - CLOSEUP OF TED
He is lost in thought. SUPER IMAGES:
-- Ted getting electro-shock
-- Psychiatrist telling him he's sick
-- Ted building the "Close Encounters" mound
Ted is shaken out of his dream by Elaine.
ELAINE
Ted, Ted. Listen to me, Ted. You were
right all along. Ted, we've lost the crew
and Simon's turned to jelly!
INT. CABIN - ANOTHER ANGLE
Simon is a jelly mold inside a uniform.
CONTROLLER 1 (V.O.)
(on radio)
Come in, Mayflower. This is mission
control. Over. Come in, Mayflower!
Over!
Jimmy pokes his head in.
JIMMY
Do you want to talk about it now,
Commander?
INT. CABIN - ANOTHER ANGLE
Elaine stands over Ted looking at the empty bottle of

stress
pills.
ELAINE
My God.
99.
Stella approaches in nurse's uniform splattered with
blood.
A cigarette dangles from her lip. She wipes her hands
on a
blood-splattered towel.
STELLA
He's finally come to terms with his own
psychosis.
ELAINE
But he was right! He's not crazy!
STELLA
Miss, I'm a nurse with a dying F-A-T-H-E-
R, I know what I'm talking about. Now I'm
going to need fresh sheets, gauze, Q-tips,
and all the vaseline you have on board!
Now!
Elaine leaves, looking back at Ted with empathy. Mary

passes.
STELLA
(to Mary)
I'll need all the boiling water you can
get your hands on!
Mary leaves and a MAN passes holding a tattered arm.
MAN
Are you a nurse?
STELLA
Yes.
(handing him a urine bottle)
The washroom's down there on your right.
The Man leaves, a quizzical look on his face.
STELLA
(yelling after him)
And not too much!
100.
A BLACK U.S. ARMY SERGEANT (imagine Jim Brown)
approaches
Stella.
SERGEANT
Can I help?
Stella hands him an M-16.
STELLA
Keep an eye on that side of the ship.
The Sergeant drops into a seat next to a window,

smashes out
the glass with his rifle butt and is immediately sucked
out.
MARY moves down the aisle with a cart collecting

boiling
water.
MARY
(to passengers)
I'll need all your boiling water.
Passengers pull pots of boiling water from under their

seats, handbags, coat pockets, and pour them into the
passing container.
Testa reassures Bob and Alice Wilson.
TESTA
We should be out of this momentarily.
There's nothing to worry about.
ALICE
Thank you. That makes me feel so much
better.
Testa leaves and Father O'Flanagan approaches with last

rites paraphernalia.
O'FLANAGAN
Trust me, I'm a priest. We're in shit up
to our ears. Who wants last rites?
101.
ANGLE ON TEXAN
He is now completely entangled in the tfilin and

struggles
to free himself.
ANGLE ON ELAINE
Elaine passes Ted carrying sheets, vaseline, etc. She

looks
at him sitting there in a fog, gives up and leaves.
Ted
looks at the red flashing "FASTEN YOUR SEATBELTS" sign.
It
takes him back.
DISSOLVE TO:
EXT. GROUNDS OF MENTAL HOSPITAL - DAY
SFX: SIRENS WAIL, 101 BLOODHOUNDS BAY
We see the hospital deep in b.g. across an expansive

lawn.
Suddenly Ted's face pops INTO FRAME, CLOSEUP. He looks
both
ways and bolts. He wears a straightjacket.
ANGLE ON HOSPITAL SIGN
"THE GERALD FORD INSTITUTE FOR THE MENTALLY FEEBLE --

WE
MAKE PEOPLE SANE THE OLD FASHION WAY"
Suddenly the dogs scramble INTO FRAME in front of the

sign,
slobbering. A half-dozen viscious-looking GUARDS in
reflector shades with shotguns, whips, nets, cattle
prods,
follow.
102.
GUARD ONE
(Southern accent)
Damn! I want that patient shot on sight!
INT. SEEDY HOTEL ROOM - NIGHT
SUPER: CHICAGO
Ted stands at window. A neon "BAR" sign flashes

outside so
close to the window that the only way to read it is to
rent
this room.
SFX: MUSIC - LAZY SAX
TED
Maybe you gotta be crazy to end up behind
the eight ball like this. Anyway, you
find out pretty fast who your friends are
when you're on the lamb.
SFX: LAMB BLEATS FROM OTHER SIDE OF ROOM
Ted turns away from the window and passes the lamb in
bed.
TED
(to lamb)
I'm going out for cigarettes and a fifth
of bourbon. Don't wait up for me.
SFX: COMPLAINING BLEAT.
Ted grabs his straightjacket and leaves.
TED
Virgin wool. Nothin' but headaches.
A Bo Peep staff is flung against door as it closes

behind
him.
103.
EXT. CITY STREET - NIGHT
an empty, spotless, wet street. One car parked under a

street lamp.
SFX: BLOODHOUNDS APPROACH AND GO OFF INTO DISTANCE
TED (V.O.)
I travelled at night in the shadows. I
didn't want to attract attention.
SFX: FOOTSTEPS, GARBAGE CANS BEING KNOCKED OVER, CATS

SCREAMING, PEOPLE YELLING "SHUT UP" OUT WINDOWS, GLASS
BREAKING.
TED (V.O.)
I was afraid to step out of the doorways.
You never know what to expect when you're
on the run.
Ted steps into light. GLORIA STEINAM passes with CAB

CALAWAY. A grand PIANO SMASHES to pavement next to
Ted. He
ignores piano and gives Gloria and Cab a quizzical
look.
SFX: DOGS IN DISTANCE
CLOSEUP - TED'S FEET
He steps in a puddle where a "BAR-COCKTAILS" sign is

reflected. The reflection shatters.
A streetcleaning truck approaches spewing out garbage

rather
than water. Ted's ankles are sprayed with garbage. He
bends down and picks up a wet matchbook -- "HARRY'S
PLACE --
FOR A GOOD TIME."
CUT TO:
104.
EXT. ANOTHER DARK STREET - CLOSEUP OF TED
standing, looking at a bar. The glow of flashing neon

sign
reflects off his face. He pulls out a cigarette. A
woman's
hand shoots INTO FRAME holding a lit zippo. Ted draws
deeply on the cigarette.
TED (V.O.)
There I was, minding my own business when
I looked up and saw a pair of legs that
went forever.
ANGLE ON WOMAN'S FEET
PAN UP AND UP AND UP. She is all legs -- no torso, no

head,
just legs -- about two stories high.
TED (V.O.)
But I had a date with Harry's. It was
little more than a hole in a wall on the
south side of Chicago.
ANGLE ON A HOLE
bashed in the side of a brick wall. A neon sign over

the
hole reads, "HARRY'S GOODTIME BAR."
INT. HARRY'S
dark, smokey bar. PAN very tough faces standing along

the
bar.
TED (V.O.)
Harry's was perfect for me. The kind of
place you go if you don't want to be
recognized.
105.
KEEP PANNING tough faces, but now they all wear Groucho
glasses and noses.
TED (V.O.)
It was rough, real rough.
ANGLE ON POOL TABLE
with four players -- all have broken thumbs in casts.
TED (V.O.)
The kind of place you could score
anything, from junk...
One guy hands another guy a large, rusted car fender

for
money.
TED (V.O.)
...to Phil Donahue's book.
PHIL DONAHUE signs a stack of books at a table.
TED (V.O.)
At Harry's you could count on a fight
breaking out almost every night.
TWO PROFESSORS argue at a table.
PROFESSOR 1
And I say essence precedes existence.
PROFESSOR 2
You're crazy! Existence precedes essence.
PROFESSOR 1
Essence!
PROFESSOR 2
Existence!
Professor 2 slugs Professor 1 sending him flying across

the
room. Professor 1 gets up and throws a judo chop which
106.
Professor 2 stops by holding a book up in both hands.
The
book splits in two like a piece of wood split by a
karate
chop.
TED (V.O.)
There was a small trio in one corner.
Two midgets play light jazz -- piano and bass.
TED (V.O.)
And a larger trio in the other corner.
Five 300-pound musicians play some tune in another

corner.
ANGLE ON TED AT BAR - CLOSEUP OF TED
He pulls out a cigarette. A bare foot with zippo held

in
toes comes INTO FRAME and lights it.
TED
The last thing I wanted was Elaine to see
me down on my luck. Well, it was just my
luck. In she walked with a group from the
space program.
ANGLE ON DOOR
Elaine and Simon and two other couples, who look like
clean-
cut NASA types out of "The Right Stuff," walk in
laughing
and take a table.
TED (V.O.)
They'd come to Harry's to slum it and try
their hand at the video bull.
The group prod Elaine to try the bull. A cowboy hat

flies
107.
across the room. She grabs it, pulls it on, and moves
to
the bull which is surrounded by others in cowboy hats.
Elaine hops in the saddle. A sinister character puts a
quarter in and madly flips knobs.
SFX: VIDEO GAME
The saddle doesn't move -- all the action is on the

screen
but Elaine throws one hand back and kicks her legs.
TED (V.O.)
Elaine made that ride look easy. It was
obvious why I was still nuts about her.
She loved life. I didn't want her to
notice me so I borrowed a pair of dark
glasses.
Ted takes a pair of dark glasses off a passing blind

man who
walks perfectly until the glasses are gone, then starts
stumbling and crashes over a table.
TED (V.O.)
Grabbed an alto sax and joined the group.
Ted takes an alto sax from a passerby who also stumbles

and
crashes over a table when he loses his sax.
TED (V.O.)
I stayed in the background not wanting to
draw attention to myself.
Everyone looks around trying to see where the terrible

grating sax sound is coming from.
TED (V.O.)
Then what happened? Elaine's crowd talks
her into joining us for a song.
Elaine hops up on the stage, grabs a mike and starts to

sing
"Stormy Weather." She sidles up to Ted and goes into a
108.
medley of old songs.
DISSOLVE TO:
HOURS LATER
Elaine's singing is just as bad as Ted's sax. They

have
cleared the joint and play and sing alone. Elaine's
group
finally pull her out. She hasn't recognized Ted.
ELAINE
(to Ted)
I don't know who you are or how you lost
your sight, but I'll never forget this
night as long as I live.
PULL BACK leaving Ted alone on the stage still playing.

Chairs are turned up on tables. One table has chairs
turned
up with the people still sitting in the chairs.
DISSOLVE BACK TO:
EXT. COCKPIT - TED
getting a glass of water outside cockpit door.
ANGLE ON COCKPIT DOOR
Simon emerges. As the door opens we hear:
CONTROLLER 1 (O.S.)
Come in, Mayflower. Over!
Simon shuts the door and bumps into Ted who is getting
a
drink of water. Simon takes a drink of booze.
SIMON
Striker.
109.
TED
Kurtz, you're drunk. Who's in command of
this ship?
SIMON
That damn computer has taken over. I'm
getting out.
TED
Then Elaine was right.
SIMON
Don't talk to me about Elaine. Outta my
way!
TED
(grabbing Simon)
Pull yourself together! We've got to...
Simon slugs Ted who falls into a corner and hits his
head.
ZOOM TO CLOSEUP of Ted unconscious.
SFX: MUSIC - DRAMATIC STING
The ship takes another violent jolt.
EXT. SHIP - SPACE
It roars through the asteroid field.
INT. WASHROOM
Simon sits on toilet seat and slides open a wall panel.
INT. ADJACENT WASHROOM
Father O'Flanagan slides open an adjacent wall panel

and
sits down.
110.
SPLIT SCREEN - THE TWO WASHROOMS
SIMON
Father, what should I do?
O'FLANAGAN
Have you considered suicide, my son?
A panel on the other side of Simon slides open.
JIMMY (V.O.)
Do you want to talk about it now,
Commander?
McCROSKY
(holding radio mike)
Come in, Mayflower. Over. Do you read
me? Over. Damnit!
McCrosky throws the mike down.
CONTROLLER 1
(taking mike)
Let me try, sir. Come in, Mayflower.
Over. Come in. Over. Damnit!
Controller 1 throws the mike even harder.
CONTROLLER 2
(taking mike)
Let me try, sir. Come in. Over. Damnit!
Controller 2 smashes the mike through the monitor

screen.
CONTROLLER 3
Let me try, sir.
Controller 3 smashes the monitor with an axe.

Controller 4
smashes the monitor with an electric guitar. Other
111.
Controllers line up for their turns with various heavy
implements.
ANGLE ON McCROSKY
McCROSKY
(to Controller 5)
Stinson, have you contacted the families
of the passengers and crew?
McCrosky looks out window.
INSERT - MOB SCENE FROM "THE HUNCHBACK OF NOTRE DAME"
BACK TO SCENE
McCROSKY
Try and calm them down. And for God sake,
be diplomatic.
Stinson turns to two burly men in leather jerkins and

black
hoods. They hold a large caldron of molten lead next
to
window.
CONTROLLER 5
Give 'em the lead!
They pour it out.
SFX: MOB SCREAMS
EXT. SHIP - SPACE
It careens through the asteroid field towards the sun.
INT. CABIN
Ted lies unconscious.

112.
SFX: MUSIC - DRAMATIC STING
ANGLE ON STELLA
She's doing her rounds -- takes a medical chart from

the
back of a seat.
STELLA
(to a male passenger)
I'm afraid that leg's going to have to
come off.
A leg is passed to her from OUT OF FRAME. She takes it

while
still looking at the chart.
STELLA
Wait. This isn't your chart. You just
had a touch of air sickness.
(handing him back his leg)
You'll be fine.
A WOMAN sitting next to the MAN WHO IS HOLDING HIS LEG

grabs
Stella.
WOMAN
I'm terrified.
STELLA
(shakes her hand)
And I'm a nurse. Everything will be okay.
Pass it on.
The Man with the leg passes it to the passenger in seat

behind.
MAN WITH LEG

Everything will be okay. Pass it on.
The leg gets passed from seat to seat as passengers

say,
113.
"Everything will be okay. Pass it on."
CLOSEUP OF TED
lying unconscious in a corner. A puppy crawls INTO

FRAME
and starts licking his face. LOOSEN TO FIND Jimmy
standing
over Ted. Ted comes to, feels his jaw and pulls
himself up.
The ship jolts.
JIMMY
Are you feeling okay, mister?
TED
I'm feeling just fine, son. Just fine.
Ted pushes by Jimmy, a look of great purpose on his

face.
INT. COCKPIT
Elaine enters looking for Simon.
ELAINE
Simon, I...
The cockpit is empty.
CONTROLLER 1 (V.O.)
Do you read, Mayflower? Over. This is
mission control. Over.
Elaine gasps. She leaps into the Captain's seat and

grabs
radio.
ELAINE
Hello. This is the Mayflower. Over!
Come in, anyone.
114.
Controllers are gathered around one monitor.
McCROSKY
(on radio)
We read you, Mayflower! Identify yourself
and give your position.
INT. COCKPIT
ELAINE
This is Elaine Thompson. I'm five-six,
123 pounds with brown hair and I'm sitting
down and facing the front.
McCROSKY
Elaine Thompson!! What in sam hill is a
woman doing in charge of that ship?!
JACOBS
Maybe she's got her shit together.
INT. COCKPIT
Ted enters.
TED
Elaine!
ELAINE
Ted!
TED
Elaine, what's going on?
ELAINE
Ted, there's no time to explain.
Ted picks up Oveur who is still gasping.

115.
OVEUR
Packers... seven... Vikings... three...
Ted drags him onto the floor and takes his seat.
McCROSKY (V.O.)
Come in, Mayflower! Over!
ELAINE
Ted, I was wrong about you.
They reach out and hold hands.
McCROSKY (V.O.)
Come in! Over! Come in! Over!
TED
We all make mistakes, Elaine.
McCROSKY (V.O.)
Come in Mayflower!
ELAINE
How could I ever have doubted you?
McCROSKY (V.O.)
This is mission control! Over!
TED
That's all behind us now, Elaine. And no
matter what happens, I want you to know
I've always loved you.
McCROSKY (V.O.)
Jesus, would someone answer me!!
ELAINE
I love you, Ted.
They smile at each other.
McCROSKY (V.O.)
What the hell's going on up there?!
116.
Ted and Elaine still smile at each other.
INT. CABIN
All passengers look forward and smile.
All Controller's look down the line and smile.
EXT. TOWN SQUARE - RIO MONTENEGRO
Six soldiers on firing squad duty, ready to fire, turn,

smile, and FIRE while they're smiling.
SFX: SHOTS, SCREAMS
INT. COCKPIT
Ted grabs the radio.
ELAINE
(smiling lovingly)
Ted, this reminds me of twenty years ago
over Chicago.
Ted hits a switch. The ship does a barrel roll.
INT. CABIN
All we see are feet sticking up from the seats.
INT. COCKPIT
TED
(on radio)
This is Mayflower One calling mission
control. Do you read me? Over.
117.
McCROSKY
A man. Now that's more like it.
(continuing on radio)
This is mission control. Identify
yourself and give me your position. Over.
INT. COCKPIT
TED
(on radio)
The name's Ted Striker and I'm sitting
down and facing the front.
McCROSKY
(trying to place the name)
Striker... Striker... Striker...
CONTROLLER 3
If you say so.
He slugs the female worker next to him.
McCROSKY
(remembering)
Ted Striker!
SFX: RADIO STATIC.
McCROSKY
Damn! We've lost them again.
CONTROLLER 1
Could be those sunspots.
JACOBS
Could be your dishwashing detergent.
McCROSKY
118.
Striker's the guy who flew that 736 into
Chicago over 20 years ago without a crew.
Would someone tell me what in sam hill
he's doing up there?
JACOBS
(waving his hand in the air)
Me! Me! Me!
ANGLE ON MISSION CONTROL DOORS
They are swinging aluminum doors similar to restaurant

kitchens and hospital operating rooms. Kruger and the
Commissioner enter through one door.
COMMISSIONER
The boys downtown are taking the heat from
the boys in Washington and the boys...
They PASS OUT OF FRAME. A waiter with tray passes them

and
leaves through the swing doors.
SFX: CRASHING DISHES
Two surgeons in operating gowns and masks enter covered

in
food.
We PICK UP Kruger and the Commissioner still walking

and
talking.
COMMISSIONER
Bud, the President wants an explanation.
They approach McCrosky.
McCROSKY
Sorry to pull you out of bed at this hour,
gentlemen.
KRUGER
Forget it. I was reading.
119.
COMMISSIONER
I was reading too.
KRUGER
What's the story?
COMMISSIONER
Some southern plantation owner falls in
love with this poor...
KRUGER
I was asking McCrosky, Commissioner.
McCROSKY
He falls in love with this poor school
teacher who...
A CONTROLLER interrupts them.
CONTROLLER
(to McCrosky)
Sir, we've restored radio transmission.
McCROSKY
Good.
(to Kruger)
We keep losing their radio.
KRUGER
Give it to me straight, McCrosky -- what's
it look like.
McCROSKY
It's green with numbers and lots of knobs.
KRUGER
Not the radio, the situation. I want to
know exactly what your people think.
PAN three Controllers at monitors.
CONTROLLER 1 (V.O.)
(thinking)
They're screwed.
120.
CONTROLLER 2 (V.O.)
(thinking)
They're dead.
CONTROLLER 3 (V.O.)
(thinking)
Did I leave the iron on?
INT. CABIN
The ship lurches from side to side.
Stella, covered in blood, kneels beside BILLY, a young

man
bandaged head to toe, lying on a stretcher with lots of
I.V.
bottles hanging around him. A U.S. ARMY GENERAL stands
next
to him -- imagine General Patton.
STELLA
General Walker is here, Billy. He wants
to talk to you.
GENERAL WALKER
Billy, if we get through this thing alive,
I'd like you to get this letter to my
mother.
He hands Billy a letter.
INT. COCKPIT
Elaine is monitoring various dials. Ted is at controls

and
on the radio.
TED
(on radio)
An electrical fire in the core has played
havoc with the ROK-4000 computer. It's
locked us on a direct line with the sun
121.
and there's no way we can go to manual.
Captain Oveur already tried it and he's...
OVEUR (O.S.)
(from floor)
Giants sixty... Rams... zip...
TED
... become an intolerable bore. The rest
of the crew has been lost and we're out of
coffee. Also, we're starting to feel the
sun's heat pretty bad.
Striker wipes his forehead. Elaine holds a tan

reflector up
to her face and turns to the sun.
INT. CABIN
Passengers sweat profusely.
SFX: JUNGLE SOUNDS.
A MAN slaps a mosquito on the back of his neck.
FOUR MEN sit nude to the waist, wrapped in towels as if

in a
steam bath.
MAN ONE
It's eight-thousand square feet with great
parking and a twenty-year lease with
option to buy.
MAN TWO
You can't lose, Al.
MAN THREE
He can lose. I've seen it happen a
thousand times.
EXT. SHIP - SPACE

122.
It shoots towards sun.
McCrosky sits at a monitor, talks into a mike and looks

down
at a book. Behind him two Controllers make a dope deal
-- a
baggie of grass for cash. We only see their
midsections and
hands.
McCROSKY
Striker, this is Jack McCrosky, chief
controller. I want you to listen to me and
listen good.
The buyer checks out the baggie -- it's mostly twigs.

The
seller is trying to explain the situation with his
hands.
McCROSKY
Twenty years ago I helped a young pilot
through a storm over Chicago.
The buyer grabs the seller's shirt and tries to get

cash
back. A fight ensues.
McCROSKY
He didn't have a crew either. He said he
couldn't do it. But when the going got
tough that kid pulled it together.
The seller's shirt is ripped. Knives are pulled.
McCROSKY
You might have read about him; he made all
the big papers and the Canadian Jewish
News.
The seller is stabbed.

123.
McCROSKY
I don't know where he is today but if he
was up there right now, I know he'd find
some way to turn that bucket around and
get the hell out of there, pronto!
ANGLE ON JACOBS
JACOBS
I wish I could talk like that -- so macho
yet so sensitive.
ANGLE ON McCROSKY'S BOOK - "PEP TALKS FOR ALL

OCCASIONS"
McCrosky slams it shut.
McCROSKY
I just hope I said the right thing.
TED (V.O.)
I'm afraid you gave the wrong speech.
McCrosky. I'm not your problem. It's
this ship. That computer's gone bananas.
McCROSKY
(holding up the book)
Why the hell are we still using the old
manual! Burn this book!
A smiling blonde man in a white sweater with "MORAL

MAJORITY" on the front walks by and takes the book.
McCROSKY
(on radio)
Just hold on, Striker, we'll get back to
you.
INT. COCKPIT
Ted writes a note to Elaine and hands it to her -- it

reads,
124.
"WE MUST FIND SOME WAY TO BLOW THAT COMPUTER!" Elaine
looks
a bit nervous and licks her lip. They look up at ROK's
pulsating eye.
Testa pokes her head in. She's soaked with sweat.
TESTA
The cabin temperature is rising. The
passengers want to know what's happening
up here.
TED
Let us handle this end of things. Now
what's the coffee situation?
TESTA
It just won't drip! I've tried
everything. And the passengers are
dropping like flies from the heat.
INT. CABIN
SFX: FLIES BUZZING
Passengers reel and drop to floor.
INT. COCKPIT
TED
Elaine, I'm going back there. Just hold
onto that stick and try to control this
hunk of tin as best you can.
ELAINE
Ted, please be careful.
Ted leaves. We hear an enormous CRASH on the other

side of
the door.

125.
JOE DIMAGGIO (MR. COFFEE), drinking a cup of coffee,

rushes
in accompanied by a GROUND CONTROL OFFICER.
OFFICER
(to Joe)
It doesn't look good. The drip seems to
be jammed up pretty bad.
MR. COFFEE
Did they change the filter and wait for
the brew sign to light up?
OFFICER
(stopping and looking Mr.
Coffee in the eye)
To tell you the truth, sir, I don't really
know.
ANGLE ON SIX CONTROLLERS
One holds a hat, one pulls a slip of paper from it.
CONTROLLER 3
(reading his slip)
Eighty-three. What's that mean?
CONTROLLER WITH HAT

If eighty-three passengers die, you win
the two hundred bucks.
ANGLE ON MR. COFFEE AND OFFICER
They approach McCrosky.
OFFICER
Mr. McCrosky, Mr. Coffee. Coffee,
McCrosky.
McCROSKY
126.
Thanks for coming down so soon.
MR. COFFEE
(checking watch)
I won't come down for another couple
hours.
McCROSKY
I'll put you on the radio with Striker.
Jeez you look familiar. Did you ever play
water polo?
MR. COFFEE
Not to my knowledge.
McCROSKY
I thought so.
EXT. SHIP - SPACE
It roars towards the sun. The nose of the ship begins

to
glow red.
NEWSPAPER HEADLINES SPIN:
NEW YORK TIMES

"MERCURY SHUTTLE HEADS FOR DISASTER"
LONDON TIMES
"DEEP SPACE DEATH CERTAIN"
JERUSALEM POST
"THEY SHOULDN'T HAVE GONE IN THE FIRST PLACE"
BUFFALO LOCAL NEWS SET
FILM INSET: APARTMENT FIRE
Set logo reads, "NEWS 4 BUFFALO."
ANCHOR 1
Four alarm fire rages through downtown
127.
Buffalo!
FILM INSET: ROCKET GOING OFF COURSE
ANCHOR 2
Mercury shuttle heads for sun.
TOKYO LOCAL NEWS SET
Set logo reads, "NEWS 4 TOKYO"
ANCHOR 1
(subtitles)
Four alarm fire guts Tokyo apartment.
FILM INSET: SHUTTLE MODEL IN MOUTH OF GODZILLA.
SFX: SCREAMS.
ANCHOR 2
(subtitles)
Mercury mission in death struggle.
MOSCOW LOCAL NEWS SET
Set logo reads, "NEWS 3 MOSCOW." A gun is held to

ANCHORMAN'S head.
ANCHOR 1
(subtitles)
Four alarm fire in downtown Moscow clears
way for glorious new tractor factory.
FILM INSET: ROCKET GOING OFF COURSE
ANCHOR 2
(subtitles)
Capitalist, imperialist adventurism ends
in space disaster.
128.
ABC "NIGHTLINE"
SUPER: "GAY UNMARRIED VEGETARIAN MOTHERS AGAINST SPACE

TRAVEL"
WOMAN
If this country was run by vegetarian
women who's old men deserted them after
knocking them up instead of by meat-eating
males, this thing never would have
happened.
EXT. TERMINAL - DAY
A banner hangs over terminal door: "HOUSTON WELCOMES

SPACE
DISASTER PRESS."
CLOSEUP OF ATTACHE CASE being carried to the door --

sticker
on it reads, "NATIONAL ENQUIRER."
CLOSEUP OF ANOTHER CASE coming from other direction --

sticker on it reads, "NATIONAL STAR."
The cases meet. LOOSEN to REPORTERS.
ENQUIRER
(to STAR)
I never forget a face. 'Texas doctor
claims sex with chicken cures baldness?'
STAR
'Severed legs grow back after Utah man
finds Christ?'
ENQUIRER/STAR
Long time no see.
They shake hands and turn into the terminal.

129.
Controllers stand over Mr. Coffee -- everyone sips

coffee
and smokes cigarettes.
MR. COFFEE
(on radio)
Have you got the back panel off the brew
manifold?
INT. CABIN
Ted has the coffee machine apart, wears a headset and

holds
wires in pliars. Anxious passengers with coffee cups
stand
over him -- they are all totally wired and going cold
turkey.
TED
(into headset)
Check.
MR. COFFEE (V.O.)

There's a terminal at the base of the
coil. That's your contact point.
A PASSENGER bends down and picks a coffee bean off the

floor.
PASSENGER
Is this a coffee bean?
ALL PASSENGERS
(maniacally)
He's got a bean!!
A riot ensues. The "bean" Passenger is beaten to

death.
TED
(into headset)
It looks like the solder point has melted.
130.
MR. COFFEE
(enraged)
Just what I thought. When the hell will
you people realize that adding extra water
after the initial brew cycle overheats the
system!! Now listen to me, Striker, and
listen good.
EXT. SHIP - SPACE
It careens towards the sun.
Detective Hallick storms in and up to McCrosky. He

flashes
his badge.
DETECTIVE HALLICK
Who's in charge here, Mister?
McCROSKY
McCrosky, Control.
DETECTIVE HALLICK
Hallick, homicide.
JACOBS
Jacobs, Pisces.
KRUGER
Kruger, Sagittarius.
COMMISSIONER
Commissioner, Aquarius.
DETECTIVE HALLICK
We have information that one of your
passengers is carrying a bomb and might be
131.
suicidal.
McCROSKY
Where'd you get this information, Captain?
DETECTIVE HALLICK
We have our methods.
KRUGER
And what methods are those?
DETECTIVE HALLICK
Have you heard of the Heimlich method?
McCROSKY
The method of saving someone choking on a
piece of gristle?
DETECTIVE HALLICK
Exactly.
KRUGER/McCROSKY/COMMISSIONER
We're familiar with it.
DETECTIVE HALLICK
Good. This is the passenger's wife. Mrs.
Joe Salucci.
She approaches very distressed looking.
McCROSKY
What makes you think your husband might
want to blow up that shuttle, ma'am?
She goes into her purse for the insurance form.
MRS. SALUCCI
This insurance policy.
A large ivory colored vibrator drops out of her purse,

hits
the floor, and flips on. They all look at it.
MRS. SALUCCI
An electric tooth.
132.
(handing McCrosky the insurance
form)
Joey was supposed to go to Des Moines for
an operation to cure his impotence.
McCROSKY
The Des Moines Institute?
MRS. SALUCCI
Then you know it.
KRUGER/McCROSKY/COMMISSIONER
Yes, we're familiar with it.
MRS. SALUCCI
Well, I found out Joey got on this shuttle
instead and...
DETECTIVE HALLICK
The way I read it, blowin' up a plane in
space leaves no traces, if you know what I
mean.
KRUGER
I'm not exactly sure what you mean,
Captain.
DETECTIVE HALLICK
No blood. No body. No bones. No eyes.
No ears. No throats.
McCROSKY
(looking at form)
This is $500,000 worth of insurance!
Kruger, Commissioner, and Hallick all whistle "wow!"
McCROSKY
Just a second. This is insurance on his
car!
MRS. SALUCCI
That's what worries me.
KRUGER
133.
He's impotent.
COMMISSIONER
He's suicidal.
ALL
And he's stupid!
ANOTHER AREA
MR. COFFEE
(into radio)
This is it, Striker. You got one shot and
one shot only.
INT. CABIN
Striker stands over the coffee machine, sweating like

mad.
The Passengers with cups hang over him. He makes
contact
with a wire.
TED
(to self)
Contact.
The MACHINE EXPLODES. Coffee gushes out like an oil

well
coming in. The Passengers dance under the gusher of
brown
liquid, mouths open and cheering.
McCROSKY
How are we going to handle this bomb nut?
CONTROLLER 2
(rushes up with printouts)
134.
Here are the tests we ran on their
computer. I had them xeroxed for you.
McCROSKY
How'd they come out?
CONTROLLER 2
Upside-down, but I turned each page over
and put them in order. I'm afraid that
computer is totally capable of taking
control of that ship.
McCROSKY
Let's keep cool. There's gotta be a way
to control it.
He lights a cigarette.
CONTROLLER 3
(rushes up with diagrams)
These are their position calculations.
They've got about ten minutes before they
start to burn up.
McCROSKY
Keep calm. A lot can happen in ten
minutes.
(to self)
What next?
He sips his coffee.
CONTROLLER 4
(rushes in)
Sir, your headlights are on and your doors
are locked!
McCROSKY
(spitting out coffee, Danny
Thomas style)
Jesus!! I'll be right back!
McCrosky races out.

135.
EXT. SHIP - SPACE
It heads closer to the sun. The nose is glowing.
INT. COCKPIT
Elaine is checking computer. The cockpit is steaming

now.
She unbuttons her uniform just as Ted comes in.
ELAINE
Ted, we've only got ten minutes.
TED
(thinking she wants sex)
Not now, Elaine.
ELAINE
I mean until we start to burn up.
Ted takes his seat and looks at a panel gauge.
TED
We're closer to the sun than I estimated.
INSERT - GAUGES
One is labeled "EXACT DISTANCE" and reads, "76.50".

The
other is labeled "ESTIMATED DISTANCE" and reads,
"5689465932.09".
BACK TO SCENE
KRUGER (V.O.)
Come in, Mayflower. This is Bud Kruger.
Over.
TED
(on radio)
This is Striker.
136.
KRUGER
(on radio)
Look, Striker, I don't know how you got
into that driver's seat but I want Simon
Kurtz on that radio and I want him now!
INT. COCKPIT
TED
(on radio)
Kurtz was the one who got us into this
mess in the first place. You people knew
this ship wasn't ready to fly. You played
God with over a hundred lives, Kruger, and
for what -- the prestige of your precious
space program.
ELAINE
That was very well put, Ted.
Jacobs stands next to Kruger rubbing his forefingers

together in the "shame, shame" sign.
KRUGER
(on radio)
Striker, you're heading right for the sun,
so don't you think it's a little late for
that bleeding heart liberal crap now?
INT. COCKPIT
ELAINE
He's got a point, Ted.
INT. CONTROL ROOM - ANGLE ON JACOBS AT A SCOREBOARD

137.
There are columns under Kruger's and Striker's names.
Striker has two check marks. Jacobs gives Kruger one.
INT. COCKPIT
TED
(on radio)
Call me a bleeding heart, but if we get
through this thing I'm preparing a paper
on alternative spending directives
recommending the transfer of space program
funds to low cost housing.
KRUGER
(on radio)
Just put Kurtz on that radio!!
McCrosky rushes in and grabs the mike from Kruger.
McCROSKY
(enraged)
Look, Kruger, you and your people have
caused enough trouble already. I don't
care about your political games, I care
about only one thing, the lives of those
people up there!!! Out of my control
room!!
JACOBS
Someone's car wouldn't start.
McCROSKY
(on mike)
Striker, this is McCrosky. Give me five
minutes and keep your fingers crossed.
(to Stinson)
Stinson, get me the Mayflower plans!
(to Controller 3)
You, clear this table!
JACOBS
138.
I'll get the cards and bridge mix.
McCROSKY
And someone get me the Sarg!
CUT TO:
CLOSEUP OF SARG
leaning over the ship's plans. He is eating another

cigar.
All Controllers stand around him.
SARG
That's my little girl, my little darlin',
my sweetheart, my honey, and you want to
blow her belly out with that bomb. If you
blast here in the computer core and the
fuselage doesn't give way here and the
main communication lines to the cockpit
hold here and this baby here doesn't jam
this little old unit up here and throw
about two tons of hot steel through here
like a hot knife through butter and the
upper and lower...
McCROSKY
What's your point, Sarg?
SARG
I have no point.
McCROSKY
Then it's settled. The bomb is Striker's
only chance. Are there any questions?
CONTROLLERS
No sir.
McCROSKY
Those are answers, I asked for questions.
CONTROLLER 3
Should a man in his forties have a
139.
circumcision?
McCROSKY
Absolutely.
INT. COCKPIT
TED
Well, Elaine, this might be it if those
guys on the ground don't think of
something.
ELAINE
I just want you to know, I love you Ted
and always will.
SFX: RADIO BEEPS
TED
That might be the news we've been waiting
for.
He grabs radio.
McCROSKY (V.O.)
I've got some news for you, Striker.
Ted and Elaine smile hopefully at each other.
TED
(on radio)
Roger.
McCROSKY (V.O.)
One of your passengers is carrying a bomb
and is suicidal.
MUSIC: DRAMATIC STING
ELAINE
A b...
She covers her mouth.

140.
McCROSKY (V.O.)
No, a bomb.
INT. CABIN
Joe Salucci wipes his brow, lays his case on his lap.
ANGLE ON FRONT OF CABIN
Ted and Mary huddle.
TED
Which passenger is Joe Salucci?
MARY
Sixteen 'C', why?
TED
He's carrying a bomb.
MARY
A b...
TED
No, a bomb. Now, as discreetly as
possible, I want you to move the
passengers into the lounge.
MARY
What should I say?
TED
Anything. Just don't let Salucci think
we're onto him.
Ted moves down the aisle. Mary gets on the P.A.
MARY
Would everyone not carrying a bomb please
move to the lounge.
141.
The Passengers go nuts screaming, "A bomb!!"
JOE
(jumping up with his case)
Don't anyone move!
All the passengers pile up in a ceiling-to-floor wall

behind
Ted -- he extends his arms, holding them back.
TED
Mr. Salucci, listen to me.
Ted takes a step forward away from the wall of

passengers --
the wall crumbles.
TED
Joe, you don't want to blow that thing and
kill all these innocent people.
JOE
I don't want to live anymore.
TED
Joe, the insurance policy won't help your
wife and kids. You bought auto insurance,
not life insurance.
JOE
What?
TED
(inching up on him)
That's right, Joe. Now, no one's going to
hurt you and no one has to know what's
wrong with you.
JOE
You're sure?
TED
I'm sure.
Ted is almost up to Joe when:

142.
JIMMY
(yells)
That's the guy from the terminal who can't
get it up!!
Joe bolts. Passengers panic. Ted tackles him. The

case
flies into the air in SLOW MOTION. It turns slowly,
hanging
for the longest time as we CUT, still in SLOW MOTION,
to
horrified faces watching it. This SLOW MOTION sequence
lasts for about 60 seconds -- people put on make-up, do
macrame, read, etc. -- while the case is still in the
air.
Suddenly, Scraps leaps high into the air in SLOW MOTION
and
comes down with the case between his teeth.
Controllers huddle over one monitor.
McCROSKY
Get that bomb, Striker! Get that bomb!
ELAINE (V.O.)
Come in, Control! We have the bomb!!
ALL CONTROLLERS
He's got the bomb!!
JACOB
This is just like an election in Iran.
INT. COCKPIT
Ted is back at the controls -- the cockpit is

incredibly hot
now.
TED
143.
This heat's getting unbearable.
He looks down and sees two eggs frying on the dash.
ELAINE
But it is a dry heat, Ted.
Controllers are grouped around the plans.
McCROSKY
Do we use the bomb to blow that computer
or is there another way? I want to know
what everyone thinks.
CONTROLLER 2 (V.O.)
I think...
(changes mind)
... No.
CONTROLLER 3 (V.O.)
We could knock out the wall between the
cockpit and cabin, and hang plants.
CONTROLLER 2 (V.O.)
I think...
(changes mind)
... No.
CONTROLLER 4 (V.O.)
You can't knock that wall out. That's a
support wall, asshole.
CONTROLLER 2 (V.O.)
I think...
(changes mind)
No.
CONTROLLER 5 (V.O.)
Did I flush?
McCROSKY
Then it's settled. We use the bomb.
144.
(grabs radio)
Striker, McCrosky.
INT. COCKPIT
McCROSKY (V.O.)
We've gone over the blueprints and you've
got only one option.
TED
(on radio)
I know what you're going to say, McCrosky
-- knock out the wall between the cockpit
and cabin and hang plants.
McCROSKY (V.O.)
Forget it. That's a support wall. Use
the bomb.
ELAINE
The b...
McCROSKY (V.O.)
I keep telling you, not the b... The
bomb!!
TED
(almost to self)
Why, you'd have to be crazy to try a stunt
like that.
Elaine looks at Ted.
INT. CABIN
All passengers look forward in Ted's direction.
INT. COCKPIT
SUPER the womb over Ted's face.

145.
DOCTOR'S VOICE
You're too low in the womb, Striker!
You've got to come out feet first!
LOSE SUPER.
TED
(grabs case)
Elaine. I'm going back there.
ELAINE
Ted... I love you. Be careful.
Ted leaves.
SFX: CRASHING MUSICAL INSTRUMENTS
McCROSKY
(to his controllers)
I want everyone on their toes for this
one.
ANGLE ON JACOBS
Handing out ballet slippers to the Controllers who are

passing a joint down the line.
McCROSKY
And if anyone has any ideas, I want to
hear them now.
JACOBS
How about a show just like Hollywood
Squares but with kids. Gary Coleman could
host.
INT. CABIN
The Passengers stand in the aisle listening to Mary.

146.
MARY
Now I want everyone to move to the front
of the cabin.
Passengers move calmly.
MARY
That's fine. Stay calm. We just want
everyone as far away from the blast as
possible.
The Passengers panic and stampede right over her.
INT. COMPUTER CORE
Ted wears a gas mask and attaches the time-bomb to the

computer.
ROK
What are you doing, Ted? Why are you
wearing that mask, Ted?
Gas spews out of a vent. Ted makes sure his gas mask
is
tight.
INT. CABIN
Simon is dressed in space suit and moving down the

aisle.
Elaine holds onto him.
ELAINE
Simon! Wait! What are you doing?!
They pass Father O'Flanagan. He has a Bongo drum at

his
seat.
O'FLANAGAN
Under the 'B', sixteen!
147.
SIMON
I've lost the ship and now I've lost you,
Elaine. I'm getting out.
ELAINE
Simon, I didn't want it to end like this.
We can be friends! You'll die out there.
SIMON
Maybe.
ELAINE
Simon, what are you saying?!
Simon steps into a hatch labeld, "ESCAPE CAPSULE".
SIMON
I'm saying, I can't take the singles scene
again, Elaine.
The hatch door slams shut. A passenger passes with a

sandwich board that reads, "JESUS WAS A SINGLE."
ELAINE
Simon, no!
Jimmy appears and yells through the window on the

hatch.
JIMMY
You want to talk about it now, Commander?
The capsule ejects.
INT. KRUGER'S OFFICE
The Commissioner stands in front of the painting of

astronauts on black velvet. He is on the phone.
COMMISSIONER
Give me the President of the United
States. Tell him it's the Commissioner.
(to Kruger)
I don't know how the old man's going to
148.
take this.
INT. OVAL OFFICE
The PRESIDENT poses for a photo session: CLOSEUP of

President holding aloft in a victory salute, the hands
of
two black men. On the camera flash we LOOSEN to reveal
the
bodiless arms of two black mannequins. An AID hands
the
phone to the President.
AID
Houston, sir.
PRESIDENT
(taking phone)
This is the President... What?!... What?!
He walks past a wall of photos of past presidents:

JFK,
Johnson, Nixon, Ford, Carter, Reagan, Reagan older,
Reagan
much older, Merv Griffin, a chimp, and this President.
SPLIT SCREEN: PRESIDENT AND COMMISSIONER
COMMISSIONER
I don't think that shuttle's going to make
it, sir.
The President passes an Arab piling millions in cash

onto
his desk.
PRESIDENT
Damnit, Mister, the dignity and integrity
of this presidency depends on the success
of that mission. And that's my last word!
COMMISSIONER
Yes, sir.
149.
They both hang up and, making sure no one is watching,
pick
their noses.
WIPE TO FULL SCREEN OF OVAL OFFICE
AID
What's our strategy on this one, sir?
PRESIDENT
I work for the people of these United
States, Frank. I have to do what's best
for them.
(grabs the red phone)
Al, kill social security, cancel school
lunches only for the poor, dismantle
welfare, close all hospitals and public
toilets, green light the MX-6, invade
Brazil, and bring my horse around after my
nap!
INT. COCKPIT
Ted is at the controls. Elaine rushes in.
ELAINE
Simon just ejected!
TED
Sit down, Elaine. If this bomb trick
works we just might make it. Simon was a
fool to eject now.
ELAINE
You mean...
TED
That's right -- premature ejection.
ELAINE
What will happen to him, Ted?
TED
The sun will heat that thing to over 450
150.
degrees within seconds. He'll roast like
a pig on a spit.
EXT. ESCAPE CAPSULE - SPACE
We see a roast on a spit through the window.
INT. COMPUTER CORE
The clock on the time bomb TICKS down.
INT. COCKPIT
TED
(looking at wristwatch)
Are you afraid?
ELAINE
Not when I'm with you, Ted.
TED
I guess you'd have to be a fool not to be
afraid at a time like this.
INT. CABIN
Mrs. Gooch sucks on her cushion -- she's totally zonked

on
acid.
MAN NEXT TO HER

Are you afraid?
MRS. GOOCH
(looking at her hands)
Are these my hands?
FATHER O'FLANAGAN
(to Stella)
Are you afraid?
151.
STELLA
I'm a nurse. I can't afford to be afraid,
Father.
ANOTHER AREA
JIMMY
(to Scraps)
Are you afraid, Scraps?
SCRAPS
(he BARKS once, subtitle
translate)
Now when there's a guy like Ted Striker up
there, Jimmy.
(he BARKS one more time --
subtitles)
Now how about a little scratch on the
inner thigh?
INT. COCKPIT
Testa stands over Ted with a clipboard.
TESTA
Fifty-six percent of the passengers are
afraid. Twenty-nine percent are not
afraid. Eight percent are undecided and
seven percent think Israel should give
back Finland.
TED
You better strap yourself in, Testa.
(on radio)
Mission control, this is Mayflower. Over.
McCROSKY (V.O.)
Go ahead, Striker.
TED
(on radio)
We've got about 60 seconds before that
thing blows. We're set to reprogram for
152.
Mercury at zero point five WORP.
McCROKSY
(on radio)
Zero point five WORP?!
STRIKER (V.O.)
That's right. When the bomb explodes
we're going to have a ten foot hole in the
fuselage and I want to get there as fast
as I can. I know what this snip can do,
McCrosky.
McCROKSY
(to Controllers)
No one's ever travelled at that speed
before.
JACOBS
Last spring we did Europe in nine days.
EXT. SHIP - SPACE
It careens towards the sun.
INT. COMPUTER CORE
Bomb clock TICKS down.
INT. CABIN
Mary instructs Passengers.
MARY
Heads between the knees!
(looking down aisle)
Between your own knees, Father!
O'Flanagan looks around guiltily.

153.
McCrosky addresses his troops.
McCROSKY
I don't find it easy to talk at a time
like this, but I want to say something
about that guy up there. I can sum it all
up in one word -- courage, dedication,
spirit, pride, selflessness, and g-u-t-s,
guts. Striker's got more guts in his
little finger than most of us have in our
large intestine. He's got guts up to his
eyeballs, guts coming out of his ears.
Controllers start playing cards, doing needlepoint.
McCROSKY
Sure it's a cliche but great shortstops
are born, not made, and a clown is funny
in the circus but when he gets on the
highway, he's murder. It bugged me too
when Mr. Ed refused to talk when the
neighbors came over but...
INT. COMPUTER CORE
The bomb TICKS down and BLOWS.
INT. COCKPIT
The ship shakes violently. Ted fights for control.
INSERT - SPEEDOMETER SLOWS
BACK TO SCENE
SFX: ENGINE WHINE SUBSIDES.

154.
The ship starts bumping as if it's hit a rough road.
TED
(on radio)
We've blown the computer!
(to Elaine)
Elaine! Set course change!
ELAINE
(flips a switch)
Set!
TED
Now!
ELAINE
(pushes a button)
Compute!
"Compute" sign flashes.
Ted pulls an acceleration lever.
TED
Here goes.
EXT. SHIP - SPACE
It slows to a halt.
INT. COCKPIT
Ted pulls the lever hard toward himself. The ship

shudders.
EXT. SHIP - SPACE
The ship slingshots in the opposite direction,

disappearing
into the void leaving a trail of light.
155.
INT. COCKPIT
INSERT - PANEL LIGHT, "0.5 WORP"
BACK TO SCENE
TED
(on radio)
Point five WORP!
PAN Controllers looking intently into the night sky.

PAN to
Mrs. Salucci intently gripping her vibrator -- it's on.
PAN
to Jacobs reading VARIETY -- headline: "PARAMOUNT
ANNOUNCES
SHUTTLE DISASTER PIC!"
McCROSKY
Zero point five WORP, that's half the
speed of light. We really have no idea
what can happen to the human body at that
speed.
INT. CABIN
Two Passengers (contortionists) with legs up over their

shoulders and looking out over their rear ends, play
cards.
INT. COCKPIT
The interior vibrates. A psychedelic blaze of multi-

colored
light illuminates the interior. Ted struggles with the
controls.
McCROSKY (V.O.)
156.
Striker, we're monitoring you. You're
right on course. At that speed you should
hit Mercury in about six minutes. So give
yourself enough time to kill those WORP
engines.
McCROSKY
(on radio)
We'll be out of radio range in a few
seconds. I'm going to put you in contact
with Mercury Base Alpha Beta for your
final descent. Over.
(off mike)
Stinson, who's in command of Alpha Beta?
STINSON
Al Hammil?
CONTROLLER 3
Not anymore. It's Rex Kramer, now.
McCROSKY
Not Rex Kramer!
CONTROLLER 3
No, Rex Kramer.
EXT. MERCURY - NIGHT
We see the Alpha Beta base in distance with an ALPHA

BETA
neon sign flashing.
SFX: WAILING SUBMARINE SIREN.
SUPER: MERCURY BASE, ALPHA BETA
INT. ALPHA BETA BASE - CORRIDOR
SFX: WAILING SUBMARINE SIREN.

157.
Four uniformed officers race to their posts around a

corner
and collide with four others racing around the corner
from
the other direction.
INT. ELEVATOR - ALPHA BETA BASE
REX KRAMER watches the floors flash by on the panel

above
the door.
INSERT - FLOOR LIGHT, "LEVEL 1 - POWER STATION"
O.S. we hear a DOG GROWLING and fighting with

something.
CLOSEUP OF KRAMER
KRAMER
I know this guy, Ted Striker. I flew with
him during the war. He was a crack pilot
but he didn't have it in the crunch...
That is...
INSERT - FLOOR LIGHT, "LEVEL 3 - LIVING QUARTERS"
BACK TO SCENE
KRAMER
Until that day over Chicago. He brought
that busted up 767 out of that storm like
a paper glider coming outta the baby blue.
INSERT - FLOOR LIGHT, "LEVEL 5 - WOMEN'S SHOES,

BEDDING,
APPLIANCES". "LEVEL 6 - DESIGNER JEANS".
158.
BACK TO SCENE
KRAMER
But flying that shuttle is a whole
different ballgame.
The elevator doors open. Kramer steps out into the

communications room.
SFX: SUBMARINE SIREN WAILS.
PAN down to floor of elevator to find a young officer -

-
Carey -- torn to shreds and fighting off Kramer's
golden
retriever dog. The doors close. Kramer approaches an
OFFICER.
KRAMER
What's the latest, Lieutenant?
OFFICER
They'll hit our atmosphere in about three
minutes, if they hold together. They've
lost their computer and are coming in at
zero point five WORP on manual control,
sir.
INT. COCKPIT
Ted shifts a stick shift on the steering column.
INT. ALPHA BETA COMMUNICATIONS ROOM
Kramer looks at the big screen.
SFX: SUBMARINE SIREN WAILS.
KRAMER
Down scope!
159.
A submarine periscope drops. Kramer looks for the
shuttle.
KRAMER
He'll never bring that thing in on manual,
but I guess Striker's their only hope.
INSERT - PERISCOPE SHOT OF WWII SHIPS
BACK TO SCENE
KRAMER
It's his ship now. He's the top dog.
INSERT - PERISCOPE SHOT OF SHORE LINE FROM WWII FILM
BACK TO SCENE
KRAMER
The big man. The numero uno honcho.
INSERT - PERISCOPE SHOT OF DESERT
BACK TO SCENE
KRAMER
The head cheese.
INSERT - PERISCOPE SHOT OF THE ED SULLIVAN SHOW -- ED

WAVES
GOODNIGHT.
BACK TO SCENE
Kramer steps away from the scope. It drops down. A

man in
160.
a barber chair is on the other end of the steel column
and
comes to rest on the floor.
OFFICER 2
Sir, we have radio contact.
INT. CABIN
Testa talks to the passengers. Psychedelic lights

flash.
TESTA
(yelling)
We're travelling at one half the speed of
light. There is nothing to worry about.
However, you might experience some
temporary metabolic changes.
ANGLE ON WOMAN
Her beard grows.
INSERT - CLOSEUP OF SANITARY NAPKIN DISPENSER
A flurry of hands empties it in two seconds.
ANGLE ON TEXAN
He has turned into a Hassidic Rabbi.
INT. COCKPIT
Ted is fighting to maintain control.
KRAMER (V.O.)
Striker, this is Rex Kramer on Alpha Beta.
Do you read me? Over.
Ted and Elaine give startled looks of recognition.

161.
KRAMER (V.O.)
That's right, Ted. Rex Kramer. We've
locked you on track beam. You're going to
have to kill those WORP engines in exactly
thirty seconds. Over.
Everyone tensely looks out the window into the night

sky.
McCROSKY
There's nothing else we can do for those
people out there now, except pray.
The entire room explodes in an up-beat Southern

Baptists'
rendition of "HE'S GOT THE WHOLE WORLD IN HIS HANDS".
INT. COCKPIT
KRAMER (V.O.)
Now, Striker! Kill WORP!
Ted pushes his WORP lever forward but it comes off in

his
hand.
ELAINE
Ted, the lever!
TED
(on radio)
Kramer, the WORP control handle just came
off in my hand.
KRAMER (V.O.)
Try another handle!
TED
There are no more handles, only switches.
162.
KRAMER (V.O.)
No buttons?!
TED
(looking around madly)
Just switches, lights, and knobs.
KRAMER
(looking at buttons and levers
on his panel)
I'd give my right arm to get just one of
these buttons or levers up there right
now.
(on radio)
Okay, Striker. You're going to have to
pull that lever panel off.
INT. COCKPIT
TED
(to Elaine)
Screw driver!
She hands him a vodka and orange juice. Ted throws it

on
his face. He reaches down and rips the panel off,
exposing
all sorts of wires.
KRAMER (V.O.)
Now find a piece of metal and stick it in
there.
Ted looks around for a piece of metal. Elaine pulls a

bobby
pin from her hair.
ELAINE
Will this work, Ted?
163.
Her long brown hair falls sexily. She sweeps it back
with a
toss of her head. Ted is overwhelmed by her.
TED
Thanks.
(on radio)
I've got something that might work.
INT. ALPHA BETA COMMUNCATIONS ROOM
TED (V.O.)
A bobby pin.
Kramer and Aids exchange a look which questions Ted's

sexuality.
KRAMER
What the hell is a man doing with a...
forget it.
(on radio)
It'll have to do, Striker.
INT. COCKPIT
Ted sticks the bobby pin into the wires. Sparks fly.
The
ship starts slowing up.
SFX: THE ENGINE WHINE SUBSIDES.
INSERT - SPEEDOMETER WINDING DOWN
BACK TO SCENE
TED
It's working.
INT. COMMUNICATIONS ROOM

164.
Kramer stands in front of the huge screen. A small
ship
appears in the distance coming right at us.
KRAMER
(on radio)
Okay, Striker. We have you on visual.
Just keep her level.
EXT. SHIP - SPACE
It careens towards the planet surface.
INT. COCKPIT
It starts bouncing wildly.
TED
She's coming apart!
INT. CABIN
Passengers scream.
INT. NEWS SET - BUFFALO
The anchorman screams.
SUPER: "EDITORIAL".
INT. NEWS SET - TOKYO
The anchorman screams.
SUPER: "EDITORIAL". (In Russian looking print.)
INT. HOTEL LOBBY - RIO MONTENEGRO
The desk clerk screams.

165.
INT. COCKPIT
KRAMER (V.O.)
Keep her nose up! Don't fight her!
TED
I'm trying but she's fighting me!
A boxing glove springs from the dash punching Ted in

the
face.
ELAINE
Ted, that's Alpha Beta!
ANGLE OUT SHIP WINDOW - NIGHT
We see the lights of a small colony on planet surface.

The
Alpha Beta neon sign is visible.
Kramer sits in a large swivel chair -- like Captain

Kirk's
on the Enterprise bridge. As he talks, he nonchalantly
swivels so his back is to the huge window. We see the
Mayflower approaching on the screen.
KRAMER
(on radio)
Now, Striker, there are a few things you
have to keep in mind as you get close to
the planet's atmosphere.
ANGLE ON COMMUNCATION ROOM PERSONNEL
They watch in horror as the Mayflower comes shooting at

them.
166.
KRAMER
(on radio)
First and foremost you have to make one
very important decision.
INT. COCKPIT
Elaine looks out the window -- horrified.
ELAINE
Ted! We're not stopping!!
Ted fights the controls.
KRAMER (V.O.)
Is this a landing you're sure you can make
without endangering the lives of your
passengers?
ANGLE ON PERSONNEL
They run for cover.
ANGLE ON THE SCREEN
The Mayflower comes right at the screen and crashes

through
it. Kramer still has his back to the screen and
doesn't
notice what has happened -- the room behind him has
been
totally demolished.
KRAMER
(on radio)
Now, once you've made that decision you
have to be very clear about your
responsibility to those people on that
ship.
167.
INT. COCKPIT
The front window is broken. Ted and Elaine are covered

in
debris. Elaine's eyes grow wide with terror again.
ELAINE
Ted!
EXT. PLANET SURFACE
A group of scientists stand at a keyboard synthesizer.

One
plays the series of notes from CLOSE ENCOUNTERS.
Suddenly
the Mayflower appears over a hill. They all jump for
cover
as it crashes through the synthesizer.
INT. COCKPIT
Ted and Elaine are covered in piano keys.
KRAMER (V.O.)
Their lives, their futures, their goals
and aspirations are in your hands,
Striker.
EXT. PLANET SURFACE
The Mayflower bounces across the surface.
INT. CABIN
Mary maneuvers down the aisle. Passengers are

screaming and
being tossed around.
MARY
168.
(to one passenger)
Seat backs up. Thank you.
She looks up and sees feet dangling from the ceiling.

A man
has gone right through the ceiling up to his waist.
MARY
(looking up)
Sir, you really must take your seat.
INT. ALPHA BETA COMMUNCATIONS ROOM
KRAMER
(on radio)
We're all with you on this one, Striker.
Now get ready to position landing gear,
cut engines, and fire your retrorockets.
EXT. PLANET SURFACE - DAWN
The Mayflower careens to a smoking, crunching,

shattering
stop.
INT. CABIN
Mary and Testa start directing panic-striken passengers

to
the exits.
KRAMER
(on radio)
Timing's of the essence on a lame duck
approach, Striker. Don't fight her. Hold
her steady. Nose up.
EXT. SHIP ON A HILL - DAWN

169.
Ted and Elaine stand looking down on the wreckage. In

b.g.,
SIRENS WAIL, emergency lights flash across Ted and
Elaine.
VOICES (O.S.)
You'll be all right! Everyone's going to
be okay!
Ted holds Elaine.
KRAMER (V.O.)
Don't fight her, Striker. Hold her! Hold
her! Stay with her, Striker!
Ted and Elaine kiss.
KRAMER (V.O.)
Now, hit your landing gear and cut those
engines!
KRAMER
(on radio)
Timing's everything, Striker! Fire your
retro-rockets!
EXT. PLANET SURFACE - DAWN
Ted and Elaine walk off into the distance.
SFX: SIRENS FROM CRASH AREA IN DISTANCE.
KRAMER (V.O.)
(voice fading)
Now give her full flap and keep that nose
up. Okay, now!
ELAINE
Ted, what's going to happen to us?
170.
Ted stops and looks into the distant, dark sky. A
printed
crawl begins:
MUSIC: OPTIMISTIC THEME
CRAWL
FAR, FAR AWAY IN THE DEEPEST REGIONS OF
OUR VAST SOLAR SYSTEM, A SMALL, BRAVE
GROUP OF PIONEERS EMBARK ON A BOLD NEW
ADVENTURE. THEIR MISSION: TO OPEN UP A
NEW FRONTIER. THEIR GOAL, TO BUILD A
BRAVE NEW WORLD.
Ted and Elaine walk towards crawl and are approached by

two
strange CREATURES -- bald with a shock of hair
sprouting
from the top of their heads.
CREATURE
Hello, we'd like you to have this flower.
We're with the Church of Mercurial
Consciousness. Would you like to make a
donation?
THE END
171.
"FROM RUSSIA WITH LOVE"
Screenplay by
Richard Maibaum
Adapted by
Johanna Harwood
Based on the novel by

Ian Fleming
[Note: Passages in brackets appear in the

cutting continuity but not in the film]
GUN BARREL LOGO
The James Bond trademark which is an IRIS moving to centre of

screen circling JAMES BOND. He fires a revolver.
IRIS CUTS OUT.
FADE IN:
EXT. RENAISSANCE GARDENS - NIGHT - SERIES OF SHOTS
- WIDE MOVING SHOT: Bond, dressed in a tuxedo, walks across a

bridge and down some steps as if stalking someone. He looks
back.
- CLOSE SHOT: The feet of another man, wearing sweat-pants

and soft shoes, walk forward.
- CLOSE SHOT: Bond turns forward again, looks around and
continues walking.
- CLOSE SHOT: The other man's feet walk quietly up some

steps.
- WIDE MOVING SHOT: Bond runs down a tree-lined path toward a

statue, hears a bird coo and looks back.
- WIDE SHOT: The other man is crossing the bridge. He is

DONALD GRANT. He stops and looks in front of him.
- MEDIUM SHOT: Bond, holding a revolver, moves toward some

trees.
- MEDIUM SHOT: Grant stops on the bridge, looking forward,

then cracks a branch of a tree.
- BOND stops suddenly at the sound. He looks back, pauses

thinking, then continues walking.
- GRANT watches, then moves forward and
- GRANT'S FEET walk forward but stop, pivot back and walk in a
different direction.
- MEDIUM MOVING SHOT: Bond looks back, walks forward, hears a

bird cooing again, looks back, then walks forward again.
- WIDE ANGLE: Bond stops moving and peers behind some bushes.
Grant crosses in f.g. holding one arm out.
- BOND fires a revolver.

- GRANT stops at the sound then turns and looks back.
2.
- BOND, still holding the revolver, moves behind a statue then

continues on.
- GRANT keeps looking back.
- BOND walks forward glancing around anxiously.
- WIDE MOVING SHOT: Grant walks toward a fountain in f.g.,

Bond following, then Grant passes it and moves on.
- BOND emerges from behind a tree, looking in Grant's

direction.
- WIDE ANGLE: Bond peers behind another tree then continues

forward. PAN OVER to reveal Grant waiting in f.g., concealed
by more trees.
- CLOSE SHOT: Grant pulls a garrote from his watch.

- MEDIUM MOVING SHOT: Bond turns a corner, still looking
around.
- FRONT ANGLE: Bond steps forward. Grant suddenly emerges

from the trees behind him and whips the garrote around his
neck. Bond clutches at it helplessly as Grant strangles him
and they drop to the ground.
Behind them, the lights of SPECTRE House go on, revealing the

MEN OF THE SPECTRE PARTY, standing on a terrace. The men walk
forward.
GRANT
rises retracting the garrote into his watch. He looks up to

see
MORZENY
approaching followed by the other men.
GRANT
stands at attention as Morzeny reaches him holding a watch.
MORZENY
(to Grant)
Exactly one minute, fifty-two
seconds. That's excellent.
3.
BOND
lies motionless on the ground. Morzeny's hand reaches down

and pulls a mask off his face, revealing an UNIDENTIFIED MAN
who has been disguised as Bond. TILT UP to reveal Morzeny and
Grant walking away toward the house.
CUT TO:
THE MAIN TITLES
A BELLY DANCER performs as the credits are projected across

various parts of her body.
FADE OUT.
FADE IN:
EXT. VENICE - ESTABLISHING SHOT - DAY
Long shot of the shoreline as TWO GONDOLIERS oar past in f.g.
DISSOLVE TO:
INT. CHESS ROOM - VENICE HOTEL
A scoreboard reads:
VENICE INTERNATIONAL
GRANDMASTERS CHAMPIONSHIP
MATCH FINAL
Czechoslovakia WHITE BLACK Canada

KRONSTEEN 11 1/2 11 1/2 MACADAMS
PULL BACK to reveal KRONSTEEN ('No. 5') and MACADAMS sitting

across from each other at a chess table, the 1st and 2nd
UMPIRES, an ATTENDANT and SPECTATORS. Kronsteen smokes a
cigarette and flicks an ash into an ashtray.
KRONSTEEN
moves his white knight and takes Macadam's black bishop,

setting it beside many other black pieces.
KRONSTEEN
Check.
Kronsteen clicks a timer.
OVER KRONSTEEN'S SHOULDER

Macadams looks thoughtfully at the board.
4.
ANGLE ON THE SCOREBOARD
1ST UMPIRE
Knight takes bishop.
The Attendant moves a corresponding white piece on the

scoreboard.
ATTENDANT
Knight takes bishop.
EXTREME WIDE ANGLE
The spectators look on murmuring. A WAITER approaches the

table with a tray containing two glasses.
CLOSER
The waiter sets a glass in front of Macadams then turns to
Kronsteen and puts a glass of water and a mat in front of him.
STILL CLOSER
Kronsteen stares at the waiter, whose hand still grips the

glass. The hand backs away and Kronsteen picks up the glass
and the mat. He starts to drink then looks through the glass.
We hear the clock still ticking.
KRONSTEEN'S POV - THE GLASS AND MAT
Seen through the bottom of the glass on the mat are the words:
'YOU ARE REQUIRED

AT ONCE.'
KRONSTEEN
sets the glass down and dabs the mat against his lips.
Meanwhile Macadams looks at the chessboard. Kronsteen tears
up the mat.
Macadams moves a black chess piece and clicks the timer.
1ST UMPIRE
King to rook two.
The Attendant moves a corresponding black piece.

ATTENDANT
King to rook two.
5.
AT THE TABLE
Kronsteen picks up a white piece then glances at Macadams.

Macadams looks back. Kronsteen sets the piece on the table,
looks again at Macadams and clicks the timer.
Macadams studies the chessboard.
The Attendant moves a corresponding white piece.
1ST UMPIRE
Queen to king four.
ATTENDANT
(repeating)
Queen... to king four.
WIDE ANGLE
The spectators murmur in anticipation.
MACADAMS
studies the board.
KRONSTEEN
stares back at him, eyes unmoving. Macadams' hand reaches

forward and touches the top of the black king.
Macadams tips over his king onto the table.
KRONSTEEN
stares at him.
Macadams rises.
MACADAMS
My congratulations, sir. A
brilliant coup.
Macadams holds out his hand as the spectators applaud.

Kronsteen rises and shakes it.
6.
HIGH ANGLE - CRANE SHOT
Kronsteen releases Macadams' hand and, as we CRANE DOWN, walks

away from the table. A SPECTATOR reaches out to give him a
handshake but Kronsteen ignores him and keeps walking.
DISSOLVE TO:
EXT. BLOFELD'S ('NO. 1') YACHT - WIDE ANGLE - DAY
The yacht rests in a bay.
EXT. BLOFELD'S CABIN - SAME TIME
A GUARD with a machine gun over his shoulder comes downstairs,

Kronsteen following and looking around. The guard rings a
doorbell to Blofeld's cabin. Kronsteen looks back and sees a
SECOND ARMED GUARD coming down the stairs.
INT. BLOFELD'S CABIN - SAME TIME
ROSA KLEB is looking into a desktop aquarium. She moves

backwards looking down at it.
BLOFELD (O.S.)
Siamese fighting fish. Fascinating
creatures. Brave, but on the
whole, stupid.
KLEB'S POV - THE AQUARIUM
Three fish swim in it.
BLOFELD (O.S.)
Yes, they're stupid.
CLOSE SHOT - BLOFELD'S LAP
A white cat rests in his lap and he pets it.
BLOFELD (O.S.)
Except for the occasional one such
as we have here...
CLOSE SHOT - AQUARIUM
The fish swim around each other and then, in quick cuts, fight
each other.
BLOFELD (O.S.)
...who lets the other two fight
while he waits... waits until the
survivor is so exhausted that he
cannot defend himself.
7.
KLEB
watches the aquarium.
CLOSE SHOT - AQUARIUM
The fish continue to fight.
BLOFELD (O.S.)
And then, like SPECTRE, he strikes.
CLOSE-UP - KLEB
KLEB
I find the parallel -- amusing.
CLOSE SHOT - BLOFELD'S CAT

Blofeld handles the cat.
BLOFELD (O.S.)
Our organization did not arrange
for you to come over from the
Russians...
ANGLE ON KLEB OVER BLOFELD
BLOFELD
(continuing)
...just for amusement, Number
Three.
CLOSE SHOT - CONSOLE
Blofeld pushes one of four buttons on his desk.
[END OF REEL 1. START REEL 2.]
BLOFELD'S POV - KLEB
stands in f.g. as a door behind her opens and Kronsteen

enters.
BLOFELD
Come in, Kronsteen. Sit down,
Number Three...
He continues to stroke it.
BLOFELD
... while we listen to what Number
Five has devised for us.
8.
CLOSE-UP - KLEB
KLEB
I hope Kronsteen's efforts as
Director of Planning will continue
to be as successful as his chess.
CLOSE-UP - KRONSTEEN
KRONSTEEN
They will be. According to your
instructions, I have planned for
SPECTRE to steal from the Russians
their new Lektor decoding machine.
For this we need the services of a
female member of the Russian
cryptograph section in Turkey and —
- uh —- the help of the British
Secret Service.
CLOSE-UP - KLEB
Listening, she looks up at Kronsteen.
KRONSTEEN (O.S.)
(continuing)
Naturally, neither the Russians nor
the British will be aware...
CLOSE-UP - BLOFELD'S CAT
He continues to pet it.
KRONSTEEN (O.S.)
(continuing)
...that they are now working for
us.
BLOFELD (O.S.)
Number Three, is your section ready
to carry out Kronsteen's directives?
CLOSE-UP - KLEB
KLEB
Yes, Number One. The operation
will be organized according to
Kronsteen's plan. I have selected
a suitable girl from the Russian
Consulate in Istanbul. She's
capable, cooperative, and her
loyalty to the State is beyond
question.
9.
WIDE ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN
BLOFELD
And you're absolutely sure she
believes you're still...
CLOSE-UP - BLOFELD'S CAT
He continues to stroke it.
BLOFELD
(continuing)
... head of operations for Soviet
Intelligence?
CLOSE-UP - KLEB
KLEB
It is most unlikely she would know
I'm now working for SPECTRE.
Moscow has kept my defection secret
from everyone but a few members of
the Presidium.
As he stroke it:
BLOFELD
For your sake, I hope so.
BLOFELD'S POV - KLEB AND KRONSTEEN
BLOFELD (O.S.)
Kronsteen, you're sure this plan is
foolproof?
KRONSTEEN
(tapping a cigarette
against its case)
Yes, it is, because I have
anticipated every possible
variation of counter-move.
As he strokes it:
BLOFELD
But what makes you think that 'M,'
the head of British intelligence,
will oblige you by falling in with
your plan?
10.
KRONSTEEN
For the simple reason that it is so
obviously a trap.
(he starts to put the
cigarette into his
mouth then lowers it)
My reading of the British mentality
is that they always treat a trap as
a challenge. And in any case, they
couldn't possibly pass up even the
slightest chance of getting their
hands on a Lektor decoder. They
have wanted one for years.

As he strokes it:
BLOFELD (O.S.)
Um-hmm. All that you say could be
true. What else?
KRONSTEEN
As an added refinement, I think
that SPECTRE would probably have
the added chance of a personal
revenge for the killing of our
operative, Doctor No. Because the
man the British will almost
certainly use on a mission of this
sort would be their agent, James
Bond.
ANGLE OVER BLOFELD AT KLEB AND KRONSTEEN
BLOFELD
Let his death be a particularly
unpleasant and humiliating one.
KRONSTEEN
Good. I shall put my plan into
operation straightaway.
KLEB
looks at Kronsteen.
11.
KRONSTEEN
KRONSTEEN
And there will be no failure.
CUT TO:
EXT. LAKE - MEDIUM CLOSE SHOT - GRANT
Naked but for shorts, he lies face-down on a towel on grass.

He glances up.
A FEMALE MASSEUSE
in a skirt approaches.
GRANT
closes his eyes.
MEDIUM SHOT - GRANT AND MASSEUSE
She sets a bag down then turns away and unbuttons and removes
her shirt, revealing large breasts in a bra. She pulls down
her skirt, revealing shorts, and turns toward Grant.
She kneels, picks up a container of ointment then looks up.
A HELICOPTER
hovers overhead.
MEDIUM SHOT
The masseuse massages Grant's back.
THE HELICOPTER
lands in front of SPECTRE House.
CLOSER ANGLE
Morzeny and other SPECTRE men, including RHODA, approach the

helicopter as it lands.
MORZENY
Hurry.
Kleb emerges from the chopper.
MORZENY
(to Kleb)
Welcome to SPECTRE Island. A great
honour. I hope you had a pleasant
flight.
12.
CLOSER - MORZENY AND KLEB
KLEB
My time is limited. Is the man I
requested ready?
Morzeny hands her a file.
MORZENY
His dossier.
KLEB
Good.
Kleb look at the file.
KLEB
Donald Grant, convicted murderer.
Escaped Dartmoor Prison in nineteen
sixty. Recruited in Tangier
nineteen sixty-two. Excellent!
Where is he now?
Rhoda turns to Morzeny.
RHODA
At the Lake.
MORZENY
Bring him to my office, will you?
Morzeny touches Kleb's elbow as if to escort her; she backs

away repulsed.
KLEB
Take me to the Lake.
MORZENY
(pointing)
Through the training area.
MOVING SHOT
Kleb, Morzeny and Rhoda walk across the grounds.
MORZENY
This Grant's one of the best men
we've ever had. Homicidal
paranoiac, superb material. Though
his methods were a little crude,
his response to our training and
indoctrination have been
remarkable.
13.
EXT. KILLING SCHOOL - MOVING SHOT
Kleb, Morzeny and Rhoda walk along a series of galleries where

men fire at targets. Other men in judo garb break cinder
blocks in f.g. In another gallery, a man fires a flame-
thrower at a running man. Two men fight with knives. In yet
another gallery, men practice judo.
MORZENY
I hope our work here meets with
your approval?
KLEB
Training is useful, but there is no
substitute for experience.
MORZENY
I agree. We use live targets as
well.
WIDE ANGLE
Kleb, Morzeny and Rhoda walk away as the mayhem continues.
DISSOLVE TO:
EXT. LAKE
The threesome approach around a grove of trees and turn to

face the Lake.
Grant reclines on his back as the masseuse works on one of his

arms. A trampoline and barbell lay nearby. The masseuse
looks up at the visitors.
Kleb takes a step forward.
KLEB
Call him.
MORZENY
Grant!
Grant jumps to his feet and stands attention. Kleb looks at

him then removes her purse from her shoulder.
Grant walks up to the visitors. He stops in front of Kleb and

stands at attention. Kleb circles him, looking him over. As
she does, she puts on a knuckle duster.
When Kleb arrives in front of Grant again she suddenly punches

him hard in the stomach. He barely flinches.
14.
KLEB
He seems fit enough. Have him
report to me in Istanbul in twenty-
four hours.
Kleb immediately turns and walks off, Morzeny and Rhoda

following.
DISSOLVE TO:
EXT. ISTANBUL - ESTABLISHING SHOT - DAY
Minarets in f.g., a mosque and the Bospherous beyond.
EXT. RUSSIAN EMBASSY - DAY
A sign on an outer wall reads:

CCCP USSR
CONSULATE GENERAL
A PORTER holds open a wrought-iron gate and three embassy

women emerge onto the sidewalk —- a striking blonde, TATIANA
ROMANOVA (known as TANIA), and her friends IRINA and NATASHA.
Tania holds a piece of paper.
IRINA
(in Russian)
Are you sure you don't want to come
with us?
TANIA
(in Russian)
I have some shopping to do.
NATASHA
(in Russian)
We'll see you later as the hostel.
IRINA
(in Russian)
Don't be late. Goodbye for now.
TANIA
(in Russian)
Goodbye for now.
NATASHA
(in Russian)
Goodbye for now.
Irina and Natasha walk away. Tania turns, looking at the

piece of paper, and walks off.
DISSOLVE TO:
15.
EXT. STREET - KLEB'S HOTEL - DAY
Tania walks up a cobblestone path to a policeman and shows him

the piece of paper.
TANIA
(in Turkish)
Can you show me this house?
The policeman points further up the path.
POLICEMAN
(in Turkish)
It's the first door on the left.
Tania continues up the narrowing path toward the hotel, which

looks more like a sinister tenement.
THROUGH AN ARCHWAY
Tania approaches the hotel, stops, looks at the paper again,

looks around, then turns up a flight of stairs.
ON THE STAIRS - MOVING SHOT
Tania continues up the stairs then turns down a walkway.

Suddenly a man's shadow crosses a pillar in f.g. He stops
behind it and watches. It's Grant, in a suit and tie.
Tania stops at a door and knocks.
AT THE DOOR
MOVE IN on the door as it opens with a creak, revealing Kleb.

She wears a Russian uniform.
INT. KLEB'S ROOM - WIDE ANGLE
Tania stands on the threshold.
TANIA
Corporal of State Security Tatiana
Romanova.
KLEB
(matter-of-factly)
Come in.
Tania enters the room. We CRANE DOWN AND IN as Kleb shuts the
door and follows her down a flight of stairs into an office.
It contains a desk and a chair. Kleb sits behind the desk.
KLEB
You know who I am?
16.
TANIA
Colonel Kleb. Head of operations
for -- for SMERSH. I saw you once
in Moscow when I worked for the
English decoding crew.
KLEB
Did you tell anyone at the
Consulate you were coming here?
TANIA
No, the message said --
KLEB
Yes, yes. I know. I sent it.
INTERCUT - TANIA AND KLEB

Tania stands watching her, uncertain.
Kleb dons a pair of black-rimmed glasses and opens a dossier

on her desk.
KLEB
Your work record is excellent. The
State is proud of you.
TANIA
Thank you, Comrade Colonel.
KLEB
Take off your jacket.
Tania is surprised, then unbuttons and removes her jacket.
KLEB
Turn around.
Tania obediently pivots around.
KLEB
Umm. You are a fine-looking girl.
Tania glances down diffidently.
KLEB
(politely)
Sit down.
Tania sits in the chair and keeps looking at Kleb, who

continues to scan the dossier.
KLEB
I see you trained for the ballet.
17.
TANIA
But I grew an inch over regulation
height, and so...
KLEB
And then you have had three lovers?
[Tania looks off shocked.
KLEB
Did you enjoy their attention?]
TANIA
(showing her anger)
What is the purpose of such an
intimate question?
Kleb explodes, cracking a short whip against her desk.

KLEB
You are not here to ask questions!
You forget to whom you are
speaking! [Did you enjoy it?]
TANIA
(softens then smiles)
I was in love.
KLEB
And if you were not in love?
TANIA
(thinks deeply, then
smiles again)
I suppose that would depend... on
the man.
KLEB
Sensible answer.
Kleb rises from her desk.
WIDER ANGLE
We see now that Tania is sitting with her legs crossed and her
skirt is raised revealing her knee.
Kleb walks to her holding a photograph, hands it to her then

sits on the edge of the desk holding the whip.
KLEB
This man, for instance.
18.
TANIA
(studying the photo)
I cannot tell. Perhaps if he was
kind and kulturny.
KLEB
Corporal...
Kleb rests a hand on Tania's knee but withdraws it at Tania's

look of distaste. DOLLY IN CLOSER to them.
KLEB
...I have selected you for a most
important assignment. Its purpose
is to give false information to the
enemy. If you complete it
successfully you will be promoted.
From now on you will do anything he
says.
TANIA
And if I refuse?
KLEB
Then you will not leave this room
alive.
Tania looks at her aghast, then regains her composure.
TANIA
I will obey your orders.
ANGLE ON KLEB
She rises from the desk, then we PAN on her as she crosses
behind Tania.
KLEB
Good. Now these are your
instructions. You report to me
here.
TANIA
Yes.
KLEB
But the Consulate security man must
not know that I am in Istanbul.
This is classified far above his
level.
TANIA
I will say nothing to anyone.
DOLLY OUT as Kleb steps toward her.

19.
KLEB
If you do, you will be shot!
(she cracks the
whip hard against
the chair, then
softens)
Come, come, my dear.
(she strokes Tania's
shoulder)
You are very fortunate to have been
chosen for such a simple,
delightful duty.
(her hand moves up
to stroke Tania's
hair)
A real labour of love... as we say.
DOLLY IN to Tania looking down at the photograph.

DISSOLVE TO:
EXT. RIVER - DAY
A punt glides by with a MAN and YOUNG WOMAN inside. He is

piloting.
MAN
Great sport, this!
YOUNG WOMAN
What did you say?
MAN
Great sport, this punting!
The punt continues off. TILT DOWN TO REVEAL another punt,

resting on the shoreline beneath a tree. Inside are Bond and
SYLVIA, embracing and kissing. An ice bucket and glasses are
beside it.
BOND
I couldn't agree with him more.
SYLVIA
I might even give up golf for it.
BOND
Really?
He tugs on a cord that extends between his toes into the

water, pulling up a bottle of champagne. He touches it.
BOND
Not quite.
20.
He lowers the bottle again. Sylvia notices something on his

back —- a scar. She runs her finger across it.
SYLVIA
Ooh! Souvenir from another jealous
woman?
He turns back and slips an arm around her.
BOND
Yes, but I haven't turned my back
on one since.
He fully embraces her and they kiss. Suddenly a BEEPER goes

off. Bond looks back, disheartened.
BOND
Excuse me.
SYLVIA
What?
He reaches into his coat pocket and switches off the device.
WIDER ANGLE
Bond climbs out of the punt with his jacket, then turns back.
BOND
Give me my shirt, will you?
SYLVIA
(tossing it to him)
What's going on?
BOND
I have to make a phone call.
PAN ON BOND as he walks to his car —- a classic green

convertible.
SYLVIA (O.S.)
(calling)
But we haven't eaten yet! I'm
starving!
Bond opens the driver's door and picks up a phone while

raising his shirt.
BOND
(into phone)
Come in, Univex. James Bond here.
Over.
21.
INT. MISS MONEYPENNY'S OFFICE - SAME TIME
She sits holding her phone and with her other hand taps a
cigarette against a file on her desk.
MISS MONEYPENNY
He's been asking for you all
morning. Where in the world are
you, James?
MEDIUM SHOT - BOND
He is in his shirt now, buttoning it.
BOND
Well, I've just been reviewing an
old case.
SYLVIA
approaches in a huff. PAN ON HER as she walks to Bond.
SYLVIA
Oh, so I'm an old case now, am I?
BOND
Shh! It's the office.
(into phone)
Err... tell him I'm on my way, will
you?
Sylvia snatches the phone from him.
SYLVIA
(into phone)
He is not on his way.
BOND
(taking the phone
back)
Sylvia, behave! We'll do this
again some other time, soon.
(he keeps buttoning
his shirt)
SYLVIA
Do what? The last time you said
that you went off to Jamaica.
(she undoes one of
his buttons)
I haven't seen you for six months.
He slaps her hand.

22.
BOND
(into phone)
I'll be there in an hour.
INTERCUT - MISS MONEYPENNY
She now holds a lit cigarette.
MISS MONEYPENNY
Hey, your old case sounds
interesting, James.
INTERCUT - BOND AND SYLVIA
Sylvia has completely unbuttoned Bond's shirt.
BOND
(into phone)
Er... make that an hour and a half.
He returns the phone to its cradle as Sylvia quietly claps her

hands together. Bond passes her and raises the convertible
top. DOLLY IN till it conceals him and Sylvia and the screen
goes black.
BOND
Now, about that lunch...
SYLVIA
(giggling)
Hmm-hmm.
FADE IN:
INT. A DOOR - MEDIUM CLOSE SHOT
The door opens to reveal Bond dressed in a suit and tie and
holding his hat. As he enters, PULL BACK TO REVEAL
INT. MISS MONEYPENNY'S OFFICE
Unseen by Bond, 'M' stands with Miss Moneypenny at a filing

cabinet behind the door. 'M' holds a file marked 'SECRET.'
They look up.
Bond tosses his hat at a hat-rack and it lands perfectly on a

hook. He turns to Miss Moneypenny and begins to close the
door.
BOND
For my next miracle, I...
'M' comes into view. Bond stops cold. The others just look
at him. Chagrined, Bond gently leans against the door to shut
it the rest of the way —- and it creaks loudly.
23.
Wordlessly, 'M' nods to Bond to follow him. PAN ON THEM as

they cross the room and pass through an open doorway into
'M's' office. BOOTHROYD ['Q'] stands just outside the office
holding a briefcase and waiting. Bond closes a padded door
behind them.
MISS MONEYPENNY
(to Boothroyd)
It'll be a miracle if he can
explain where he's been all day.
INT. 'M's OFFICE
'M' walks toward his desk, Bond following having just closed
the padded inner door.
BOND
But I've never even heard of a
Tatiana Romanova.
'M'
Ridiculous, isn't it?
BOND
It's absolutely crazy.
'M'
Of course, girls do fall in love
with pictures of film stars.
'M' stops behind his desk and gestures to Bond to sit.
INTERCUT - BOND AND 'M'
BOND
But not a Russian cipher clerk with
a file photo of a British agent.
Unless she's, uh... mental.
'M'
Mmm.
BOND
No, it's some sort of trap.
'M'
(filling his pipe)
Well, obviously it's a trap, and
the bait is a cipher machine. A
brand new Lektor.
BOND
A Lektor, no less. The C.I.A.'s
been after one of those for years.
24.
ANGLE ON 'M'
over Bond's shoulder. 'M' lights his pipe and sits.
'M'
Yes. So have we. When she
contacted Kerim Bey, head of
Station T, Turkey, and told him she
wanted to defect, she said she'd
turn it over to us, on one
condition: that you went out to
Istanbul and brought her and the
machine back to England.
(he takes a photo
from the file)
Here's a snapshot Kerim managed to
get of her.
BOND
takes the photo, glances at it absently, then looks up.
BOND
Well, I don't know too much about
cryptography, sir, but, uh... a
Lektor could decode their top
secret signals. The whole thing's
so fantastic, it just could be...
(he finally looks
at the photo and
catches himself)
...true.
INSERT - THE PHOTO
shows Tania standing at a railing aboard a ship with one hand

raised provocatively, holding her hair back.
'M' (O.S.)
Hmm. That had occurred to me.
BOND
continues to look at the photograph
'M' (O.S.)
Besides, the Russians haven't been
up to any tricks recently.
BOND
Well, really, I'm not too busy at
the moment, sir.
25.
INTERCUT - BOND AND 'M'
'M'
You're booked on the eight-thirty
plane in the morning. If there's
any chance of us getting a Lektor,
we simply must look into it.
BOND
Suppose when she meets me in the
flesh, I don't come up to
expectations?
ANGLE ON 'M'
over Bond's shoulder.
'M'
Just see that you do.
He presses a switch on his intercom.
'M'
Miss Moneypenny, ask the Equipment
Officer to come in, please.
(he releases the switch)
Q Branch has put together a smart
looking piece of luggage for us.
ANGLE ON THE PADDED DOOR
Boothroyd enters carrying the briefcase. PAN ON HIM as he

walks to the desk, to include Bond and 'M'.
'M' (O.S.)
We're issuing this to all double-o
personnel.
Boothroyd nods to Bond and sets the briefcase on the desk.

Bond rises to face him.
BOOTHROYD
An ordinary black leather case...
(tilts it up and points
to two buttons on
its back edge)
... with twenty rounds of
ammunition here and here.
Boothroyd presses one of the buttons and a narrow tube pops

up. Bond does the same to the other button and another tube
pops up.
26.
MEDIUM SHOT - BOND AND BOOTHROYD
BOOTHROYD
(indicating the tube)
Now, if you take the top off,
you'll find the ammunition inside.
Bond opens the top and drops a couple of bullets into his
hand, then returns them to the tube. Meanwhile Boothroyd
turns the briefcase the other way around.
BOOTHROYD
In the side here: flat throwing
knife.
CLOSE SHOT - THE BRIEFCASE
Boothroyd's hand enters.

BOOTHROYD (O.S.)
Press that button there...
(he presses a release
and a knife pops
out)
... out she comes.
Bond's hand enters and takes the knife.
MEDIUM SHOT - BOND AND BOOTHROYD
Boothroyd opens the briefcase and sets it down flat.
BOOTHROYD
Inside the case...
CLOSE SHOT - THE BRIEFCASE
The inside is bright red and contains what looks like part of
a rifle. Boothroyd's hand picks it up.
BOOTHROYD (O.S.)
...you'll find an AR Seven folding
sniper's rifle.
(he pulls the heel
off the grip,
revealing a barrel
hidden inside)
Point-two-five calibre, with an
infra-red telescopic sight.
He reattaches the heel and sets the rifle beside the

briefcase. Then he pulls on a strap connecting the case's lid
to its body. A hidden strap comes out of the inner lining and
gold sovereigns are embedded in it.
27.
BOOTHROYD
Then, if you pull out these straps,
inside are fifty gold sovereigns.
Twenty-five in either side.
He slides the strap back into the lining.
TIGHT TWO-SHOT - BOND AND BOOTHROYD
BOOTHROYD
Now watch very carefully.
(he reaches down)
MEDIUM CLOSE SHOT - THEIR TORSOS
Boothroyd takes a tin of talcum powder from his pocket. It

bears the trademark 'Club.'
BOOTHROYD (O.S.)
An ordinary tin of talcum powder.
Inside, a tear gas cartridge.
TWO-SHOT
BOOTHROYD
That goes in the case against the
side...
MEDIUM CLOSE SHOT - THE BRIEFCASE
DOLLY IN as Boothroyd's hand attaches the tin to the inside of

the case.
BOOTHROYD (O.S.)
... here, like that. It's
magnetized so it won't fall.
His hands shut the case and close the catches.
BOOTHROYD
Shut the case.
TWO-SHOT
BOOTHROYD
Now, normally to open a case like
that...
MEDIUM CLOSE SHOT - THE BRIEFCASE (BOND'S POV)
Boothroyd's thumbs rest on the catches.

28.
BOOTHROYD (O.S.)
... you move the catches to the
side.
(his thumbs move
sideways without
touching the catches)
If you do, the cartridge will
explode -- in your face.
TWO-SHOT
BOOTHROYD
Now, to stop the cartridge
exploding...
MEDIUM CLOSE SHOT - THE BRIEFCASE (BOND'S POV)
Boothroyd's fingers twist the catches sideways.

BOOTHROYD
... turn the catches horizontally,
like that. Then open normally.
His thumbs open the catches and the briefcase pops open.
TWO-SHOT
BOOTHROYD
Now you try it.
MEDIUM CLOSE-UP - 'M'
Pipe in his mouth, 'M' looks up at Bond, removes the pipe and
blows out smoke.
MEDIUM TWO-SHOT - BOND AND BOOTHROYD
Bond moves behind the upright case and lays his fingers the
catches.
BOND
Hmm. Turn the catches...
(twisting them)
...like that...
BOOTHROYD
That's right.
BOND
And open ordinarily.
Bond snaps the briefcase open then grins in satisfaction.

29.
BOOTHROYD
You've got it?
BOND
Yes, I think so.
BOOTHROYD
(to 'M', off)
Is that all, sir?
'M' (O.S.)
Yes, thanks very much.
BOOTHROYD
Right. Thank you.
Boothroyd exits as Bond closes the briefcase.

BOND
That's a nasty little Christmas
present. But I shouldn't think
I'll need it on this assignment,
sir.
CLOSE-UP - 'M'
'M'
All the same, take it with you.
WIDE ANGLE OVER 'M's SHOULDER
'M'
Good luck, Double-o-seven.
BOND
Thank you, sir.
Bond heads for the door.
CLOSE-UP - 'M'
He returns the pipe to his mouth and looks down at the file.
INT. MISS MONEYPENNY'S OFFICE - SAME TIME
Bond enters from 'M's office flipping the padded door shut
behind him. PAN WITH HIM as he walks to Miss Moneypenny's
desk and sets the briefcase down.
BOND
'Once more into the breach, dear
friends.'
Miss Moneypenny holds up an airline ticket.
30.
MISS MONEYPENNY
And one plane ticket.
Bond sits on the edge of her desk and takes the ticket from
her. SLOW DOLLY IN to tight two-shot as they talk.
MISS MONEYPENNY
Lucky man. I've never been to
Istanbul.
BOND
You've never been to Istanbul?
MISS MONEYPENNY
No.
BOND
(leaning toward her)
Where the moonlight on the
Bospherous is irresistible.
MISS MONEYPENNY
(rising and touching
her forehead to his)
Maybe I should get you to take me
there some day. I've tried
everything else.
BOND
Darling Moneypenny, you know I
never even look at another woman.
MISS MONEYPENNY
Oh, really, James?
BOND
Uh-huh. Let me tell you the secret
of the world...
(he leans back to
her ear)
Just then her intercom buzzes.
CLOSE SHOT - INTERCOM
Miss Moneypenny's finger switches it on. PULL BACK TO MEDIUM

TWO-SHOT of Bond and Miss Moneypenny.
'M' (over intercom)

Miss Moneypenny, ask Double O Seven
to leave the photograph. I'm sure
he'll recognize the lady when he
sees her.
31.
Miss Moneypenny holds out her hand. Bond takes out Tania's
photograph and sets it on her palm. Then he picks up a pen.
CLOSE SHOT - THE PHOTOGRAPH
Bond's hand writes the words 'WITH LOVE,' then adds above it
'FROM RUSSIA.'
MEDIUM TWO-SHOT
Bond picks up the briefcase and steps off the desk.
MISS MONEYPENNY
(watching him go)
Good luck.
BOND
(passing in front
of her)
Ciao!
MISS MONEYPENNY
Ciao!
SLOW DISSOLVE TO:
EXT. ISTANBUL AIRPORT - DAY
A plane lands on a runway marked '2.' PAN ON IT as the nose-

wheel touches down.
INT. CONTROL TOWER - SAME TIME
A number of AIRPORT OFFICIALS look out the windows.
1ST OFFICIAL
(into microphone)
Hello, London. Your flight P-A-One
just landed Istanbul.
CUT TO:
INT. AIRPORT LOUNGE - REVERSE TRUCKING SHOT
Bond, wearing a grey suit and holding his briefcase, walks

through the lounge, surrounded by other passengers.
He passes a CHAUFFEUR who stands holding a glass at a drink

tray manned by a DRINK SELLER. The chauffeur sports a
mustache and wears a grey suit, black tie, cap and gloves.
CHAUFFEUR
(seeing him)
Mr. Bond!
(MORE)
32.
CHAUFFEUR (cont'd)
(to the drink seller,
in Turkish)
Tesekkür ederim.
Bond stops and looks back. The chauffeur walks to him.
CHAUFFEUR
Kerim Bey sent a car for you, sir.
BOND
Oh, fine.
(reaches into his
coat and takes out
a cigarette case)
Can I borrow a match?
CHAUFFEUR
I use a lighter.
BOND
(opening the case
to reveal cigarettes)
It's better still.
CHAUFFEUR
Until they go wrong.
BOND
(shutting the case)
Exactly.
Bond gestures to the chauffeur to move on.
CHAUFFEUR
I'll get the car, sir.
The chauffeur walks off. Bond follows in REVERSE TRUCKING

SHOT, returning the cigarette case to his pocket. Bond walks
off and we HOLD on a man in b.g. watching him —- HASSAN.
Hassan steps forward, staring after him.
EXT. TERMINAL BUILDING - LONG SHOT - SAME TIME
Bond follows the chauffeur to a black Rolls Royce waiting at

the curb. Meanwhile we see GRANT'S FACE reflected in the
driver's door mirror of a car in f.g., watching them. He
raises a gloved hand to his mouth. PAN TO GRANT. He chews on
one of the gloved fingers.
BOND'S ROLLS ROYCE

PAN ON IT as it drives away, then HOLD on the front of the
terminal. Hassan emerges watching it go. A black Citreon car
pulls up. Hassan climbs into the passenger seat.
33.
GRANT
sits in his car watching.
THE CITREON
PAN ON IT as it drives off. [Mistake: the passenger seat is

vacant!]
WIDE ANGLE - ENTRANCE TO TERMINAL
The Citreon drives away.
INT. ROLLS ROYCE - DRIVING - DAY
The chauffeur is in f.g., Bond behind him in the back seat.

Bond waves his hat across his face against the heat. Through
the rear window we see the Citreon following.
CHAUFFEUR
Kerim Bey suggested that you see
him before going to the hotel, sir.
Would that be convenient?
BOND
Fine.
Bond glances back, sees the Citreon following, then looks

forward again and continues fanning his face with his hat.
EXT. ISTANBUL STREET - SAME TIME
PAN ON THE ROLLS as it drives on. Then HOLD on ancient ruins

in b.g. as the Citreon passes following it.
DISSOLVE TO:
EXT. NARROW STREET - DAY
The Rolls continues past some buildings and continues down an

open road. The Citreon keeps following.
INT. ROLLS - SAME TIME
the Citreon still visible through the rear window.
BOND
I suppose it's customary to have
people trailing you in these parts.
CHAUFFEUR
Oh, yes, sir. Today it's Citreon
H-three-one-eighty-four on duty.
(MORE)
34.
CHAUFFEUR (cont'd)
They are Bulgarians working for the
Russians. They follow us, we
follow them. It's a sort of
understanding we have.
BOND
That's very friendly.
EXT. STREET - SAME TIME
CRANE BACK ON THE ROLLS as it swings over toward the Grand

Bazaar and stops.
THE CITREON
stops just short of the Rolls. Hassan jumps out and looks
off.
MEDIUM LONG SHOT - A COBBLESTONE STREET
Bond and the chauffeur walk down the street. PAN ON them as
they walk into the bazaar.
INT. GRAND BAZAAR - SAME TIME
PAN ON THEM as the chauffeur leads Bond through the Bazaar.

It is filled with people and Bond glances back at some of
them. They continue past us and walk off.
HASSAN
stands in a passageway drinking a cup of coffee and watching

them.
HASSAN'S POV - BOND AND THE CHAUFFEUR
They turn into a shop where Turkish rugs hang outside.
INT. SHOP (STUDIO SEQUENCE) - SAME TIME
The chauffeur leads Bond through the shop to a door covered by

a hanging tapestry. Salesmen are showing rugs to customers.
CLOSER ANGLE
The chauffer pulls a cord which retracts the tapestry,

revealing a door. He opens the door to reveal an office.
Bond starts to step inside but stops, seeing KERIM'S MISTRESS

within. She is picking up a hat, dons it and walks toward the
doorway straightening the shoulder of her blouse. DOLLY BACK
as she exits past Bond pulling her skirt down and
straightening her hat.
35.
Bond steps into the office followed by the chauffeur.
KERIM (O.S.)
Ah, my friend, come in!
INT. KERIM'S OFFICE - SAME TIME
PAN ON BOND as he walks in, the chauffeur following. The

office is well-appointed with curtains, pillars, and a large
bed with a golden cover that KERIM BEY is straightening. He
turns to Bond.
KERIM
Come in! Glad to see you! Welcome
to Istanbul!
Kerim walks to Bond and shakes his hand, then PAN ON THEM as
they walk to Kerim's desk.
BOND
Oh, thank you for sending the car,
but, uh —- it does rather tie you
in with me.
Bond sits in a chair across from the desk. Kerim picks up a

yellow plastic cigarette holder and a wooden cigarette box.
KERIM
You are in the Balkans now, Mr.
Bond. The game with the Russians
is played a little differently
here. In the day-to-day routine
matters we don't make it too
difficult to keep a tab on each
other.
Kerim holds out the box to Bond.
ANGLE ON BOND
BOND
(taking a cigarette
from the box)
So I gathered from your chauffeur.
He's a rather intelligent young
man, by the way.
Bond lights the cigarette.
KERIM
steps back behind his desk.

KERIM
He should be. He's my son.
36.
Kerim picks up a bell and rings it.
ANGLE ON BOND
He puffs on the cigarette.
KERIM (O.S.)
Coffee?
BOND
Medium sweet.
A YOUNG MAN enters through the doorway behind him.
CLOSE SHOT - KERIM
KERIM
Two, medium sweet.
ANGLE ON BOND, KERIM IN F.G.
The young man nods and shuts the door.
KERIM
He also is my son.
INTERCUT - BOND AND KERIM
Kerim sits at his desk, his cigarette burning in the yellow

holder.
KERIM
All of my key employees are my
sons. Blood is the best security
in this business.
BOND
You must have quite an
establishment here.
KERIM
Biggest family payroll in Turkey.
Not bad for a man who started life
breaking chains and bending bars
with his teeth in a circus. But
let's talk about this business of
yours.
BOND
Well, 'M' thinks I'm wasting my
time here.
37.
KERIM
And so do I.
(points to his nose)
This is an old friend of mine. And
it tells me something smells.
BOND
Maybe. But if there's a chance of
getting a Lektor... Now you tell
me. Where can I contact this girl?
KERIM
She said she would make her own
arrangements. You'll just have to
wait.
A knock sounds at the door.

KERIM
(rising)
Ah!
A YOUNG MAN
walks in carrying a tray containing two demitasse cups. PAN

ON HIM as he walks to Kerim's desk and sets the tray down.
KERIM
Thank you.
The young man exits. Kerim sets his cigarette in an ashtray,

hands Bond a cup and takes the other cup.
KERIM
My friend, if you really want my
advice...
DOLLY IN on Kerim.
KERIM
... you should spend a few pleasant
days with us here in Istanbul,
then... then go home.
DISSOLVE TO:
EXT. BAZAAR - DAY
The Rolls Royce drives through an archway and down a street.

[Mistake: there are no passengers.] The Citreon immediately
follows.
38.
MEDIUM SHOT - HASSAN
emerges from the Bazaar looking at both cars.
HASSAN'S POV - BOTH CARS
drive off.
INT. CITREON - SAME TIME
Grant is driving and, in f.g., is a pair of tied-up hands.

Cut to:
THE DRIVER
lies bound and gagged in the back seat bleeding from a gash on
his temple.
TILT UP to Grant who glances back then continues to drive.
DISSOLVE TO:
INT. KRISTAL PALAS HOTEL - LOBBY - DAY
DOLLY IN on Bond as he enters carrying his briefcase; the

chauffeur follows carrying Bond's suitcase. They stop at the
front desk.
A MALE CONCIERGE turns to Bond; there is a FEMALE RECEPTIONIST

behind him.
BOND
James Bond. You have a reservation
for me.
CONCIERGE
Ah, Mister Bond. Your room is
ready.
(to the receptionist)
Number thirty-two.
The concierge rings a bell. A PORTER walks up and takes the

suitcase from the chauffeur.
FEMALE ASSISTANT
(to the porter)
Thirty-two for Mister Bond.
CONCIERGE
(to Bond)
Hope you enjoy your stay.
BOND
Thank you.
39.
The chauffeur tips his hat to Bond, then Bond and the porter
cross the lobby and enter a lift. The doors close.
WIPE BOTTOM TO TOP TO:
INT. SITTING ROOM - DAY
The porter opens the door for Bond. Bond enters, crosses the
room and drops his briefcase on the bed. He hears the porter
clear his throat and turns back.
PORTER
Will there be anything else, sir?
Bond slips some cash into his pocket.
BOND
No, only this. Thank you.
Bond turns to the bathroom door. The porter peeks at the
money.
PORTER
Thank you, sir.
The porter exits.
Bond opens the bathroom door and looks inside, then turns to a
painting on the wall and looks behind it, then walks to
another painting and looks behind it. Then he crosses the
room, glances at a clock, then looks behind another painting.
On the wall behind it are a microphone and a cord.
BOND
backs away, continuing to look around. He sees a chandelier

overhead, walks under it and turns it around, then steps
forward and looks at:
INSERT - A PHONE
resting on the nightstand.
BOND
turns up his briefcase, moves the catches sideways and opens

it. He takes out a test instrument and picks up the phone.
INSERT - PHONE
Bond places the instrument beneath it. The meter rises and
crackles.
40.
BOND
drops the phone onto the bed and picks up the receiver.
BOND
Mister Bond here.
RECEPTIONIST'S VOICE
Yes?
BOND
I'm afraid the room won't do.
RECEPTIONIST'S VOICE
I'm sorry.
BOND
The bed's too small.
INTERCUT - FRONT DESK
RECEPTIONIST
(into phone)
One moment, sir.
She turns to the concierge, who stands in a back room holding

a receiver. A WOMAN sits behind him at a console wearing
headphones.
RECEPTIONIST
(to the concierge)
Did you hear that?
CONCIERGE
Tell him that's all there is,
unless he would like the Bridal
Suite.
The concierge raises the receiver to his ear.
RECEPTIONIST
(into phone)
I'm sorry, sir. That's all we have
available, except the Bridal Suite.
INTERCUT - SITTING ROOM
BOND
(into phone)
Well, let's have a look at it. I
may like it.
41.
INTERCUT - FRONT DESK
The receptionist cups her hand over the receiver and looks
back at the concierge. He nods to her.
RECEPTIONIST
(into phone)
The porter will show it to you. He
will be up immediately.
She rings the bell. The concierge walks up to her.
CONCIERGE
Good.
INTERCUT - BOND
He cups his hand over the mouthpiece, hears a click, grins

tightly and hangs up.
CUT TO:
EXT. RUSSIAN CONSULATE - DAY
A whistle sounds as the Citreon drives up and stops at the

curb. Grant emerges. PAN ON HIM as he walks off removing his
gloves, then HOLD on the doorman.
GRANT
gets into a green car which drives away.
THE DOORMAN
walks to the Citreon, suddenly sees something and pulls the

back door open.
THE DEAD DRIVER'S HEAD
which was leaning against the door falls forward.
INT. GREEN CAR - DRIVING - SAME TIME
Grant sits in back with Kleb.
KLEB
Good work.
(puts on her glasses
and looks at a dossier)
Who can the Russians suspect but
the British? The Cold War in
Istanbul will not remain cold very
much longer.
CUT TO:
42.
EXT. A MOSQUE - ESTABLISHING SHOT
with the Bospherous in b.g. We hear a wailing prayer.
DISSOLVE TO:
INT. KERIM'S OFFICE - DAY
Kerim's mistress lies on a bed tonguing a string of black

pearls.
KERIM'S MISTRESS
Ali Kerim Bey?
She looks off then glances at her watch.
WIDER ANGLE
Kerim sits in a chair writing in a file. The mistress turns
over and looks at him.
KERIM'S MISTRESS
Ali Kerim Bey!
KERIM
(glancing back)
Hmm?
THE MISTRESS
drops the string of pearls from her mouth.
KERIM'S MISTRESS
Ali Kerim Bey.
ANGLE ON KERIM
He sits unmoved, continuing to write.
THE MISTRESS
gets up, straightens her skirt, walks over to Kerim and puts
her hands around him.
KERIM'S MISTRESS
You're not glad to see me this
morning, sirree?
KERIM
(annoyed)
Overjoyed.
43.
KERIM'S MISTRESS
I... I no longer please you?
KERIM
Be still.
Giving up, he slaps the file down on his lap then sets it on a
table.
KERIM
(rising)
Back to the salt mines.
KERIM
walks toward the bed unbuttoning his jacket. From behind, his
mistress removes it. [MISTAKE: She starts further away.]
Kerim turns. She wraps her arms around him and they kiss.
Suddenly an explosion occurs which bathes them both in red.
She screams and they fall.
KERIM'S DESK
one leg broken crashes to the floor as smoke envelops it till

the image turns black.
FADE IN:
KERIM'S STORE
PAN ON BOND as he walks through the store then through the

open doorway into Kerim's office. Workmen are clearing the
debris.
KERIM
Careful with those papers!
DOLLY IN as Bond approaches Kerim who dusts a table-top with

his handkerchief.
BOND
Well, who won?
KERIM
I had visitors.
CLOSER ANGLE
PAN ON KERIM as he moves the table to one side and sets it

down.
44.
KERIM
Limpet mine on the wall outside,
timed to catch me at my desk. But
by good fortune, I was relaxing on
the settee for a few moments. The
girl left in hysterics.
BOND
(grinning)
Found your technique too violent?
KERIM
I cannot understand this sudden
breach of the truce. It is unlike
our Russian friends to break the
peace this way.
BOND
It's most inconsiderate. I think
my visit might have something to do
with it.
KERIM
Let's try and find out.
Kerim walks off; Bond follows.
KERIM'S SHOWROOM - SAME TIME
DOLLY BACK as Kerim leads Bond into the showroom, grabs a

flashlight from the wall and goes to a door covered by a
tapestry. Kerim pulls a cord, withdrawing the tapestry to
reveal a door which he opens.
KERIM
(to an assistant)
Close up after us.
Bond goes through the doorway, Kerim follows and shuts the
door. An ASSISTANT walks up and retracts the tapestry.
INT. UNDERGROUND CISTERN
Bond and Kerim walk down a flight of stairs.
BOND
Quite a place you've got here.
KERIM
The Emperor Constantine built it as
a reservoir sixteen hundred years
ago.
BOND
Really?
45.
KERIM
(tossing him the
flashlight)
Here.
Kerim unties a boat, they get in (Bond sitting and Kerim

standing), and Kerim moves them away with an oar.
CLOSE SHOT - THE OAR
Rats climb across it. Kerim tilts it to drop them back into
the water.
LONG SHOT
Kerim continues rowing them through the cistern.
DISSOLVE TO:
THE BOAT
passes more pillars.
KERIM
My daily exercise. At eleven in
the morning; at three in the
afternoon.
CLOSE SHOT - THE OAR
continues guiding them.
KERIM (O.S.)
Tie her up, will you?
LONG SHOT
Bond gets out and ties the boat to a dock, then Kerim gets
out.
PANNING SHOT
KERIM
Mind your head now.
They walk across a cobblestone path.
INT. ALCOVE - SAME TIME
They pass through an archway into another part of the cistern.
KERIM
Underneath the Russian Consulate.
He pulls a tarpaulin off a periscope.

46.
KERIM
A present from your navy.
CLOSER TWO-SHOT
Kerim raises the periscope and wipes the lens with his
handkerchief.
KERIM
Our friends were turned out while
the Public Works Ministry conducted
a survey. The story was that the
heavy traffic was shaking the
foundations. By the time the place
was declared safe, I had this
installed.
BOND
I can see everything 'M' said about
you is right.
KERIM
Or, why I stay in this mad
business?
BOND
Well, it could be that you find
selling rugs a bore.
KERIM
My friend, you should be a mind
reader.
Kerim looks into the periscope.
KERIM'S POV - A CONFERENCE ROOM
GENERAL VASSILI, KOSLOVSKI, BENZ and another MAN sit at a

conference table.
KERIM
Head of the table is General
Vassili, Director of Military
Intelligence. On his left,
Koslovski, Chief of Security.
Opposite him, Benz, one of his
agents.
He pans the periscope to one side.
KERIM
I can't see the face of the other
man —- the one the general is
shouting at.
47.
BOND AND KERIM
Kerim steps back and Bond looks through the periscope.
BOND
He's giving him a hell of a blowing
up for something.
BOND'S POV - THE CONFERENCE ROOM
Bond pans across the room.
KERIM (O.S.)
It's too bad we can't hear as well
as see.
BOND AND KERIM

BOND
Tell me, does our girl Romanova
ever come to this room?
KERIM
Sometimes with messages.
Koslovski leans back in his chair, revealing the other man.
BOND (O.S.)
I can see the face of the other man
now.
BOND AND KERIM
Bond steps back and Kerim looks through the periscope again.
KERIM
(exclaiming)
Krilencu!
KERIM'S POV - THE CONFERENCE ROOM
KRILENCU, an evil-looking man with a mustache, is speaking

vociferously.
KERIM
So he's back! Another Bulgarian
they use as a killer.
48.
BOND AND KERIM
Looking up at them from a LOWER ANGLE
KERIM
Just the man for that limpet mine
job. I have had trouble with him
before. But he's stayed away from
Istanbul for over a year now. Take
a look —- you should remember him.
This man kills for pleasure.
Bond looks through the periscope.
Krilencu is still talking, then suddenly stops and looks at

the door which is opening.
BOND (O.S.)
Nice face. —- Just a moment...
A smart-looking pair of female legs enter —- Tania.
BOND (O.S.)
A girl's just come in.
BOND AND KERIM
KERIM
Probably Romanova. She's the only
one who's allowed to. How does she
look to you?
The periscope pivots, following Tania's legs.
BOND (O.S.)
Well, from this angle, things are
shaping up nicely. I'd like to see
her in the flesh. Yes.
BOND AND KERIM
Bond backs away from the periscope.
BOND
Could you get me a plan of that
place?
KERIM
I wish I could.
49.
BOND
But there must be the original
architect's drawings registered
somewhere.
KERIM
I'll get onto that.
(lowers the periscope)
Now, I need a little time to deal
with this stinking Krilencu. It
will be better if you didn't stay
at the hotel tonight. Come.
PAN ON THEM as Kerim walks off, Bond following.
DISSOLVE TO:
EXT. ROAD TO GYPSY CAMP - DAY FOR NIGHT - LONG SHOT

A station wagon approaches.
INT. STATION WAGON - SAME TIME
Bond and Kerim sit in back. Kerim fans his face with his hat.
Bond glances back then forward again.
BOND
I see now why you keep the Rolls.
KERIM
One of my sons is driving it, with
two dummies in the back... in the
opposite direction. They'll follow
it for hours. You'll like my Gypsy
friends. I use them like the
Russians use the Bulgars. I'm
afraid it's created a blood feud
between them.
THE STATION WAGON - DAY FOR NIGHT
It continues on.
EXT. GYPSY ENCAMPMENT - NIGHT
TWO BULGARS in dark clothes lurk in f.g. behind an archway,

one of them holding a walkie-talkie.
DOLLY IN THROUGH THE ARCHWAY as the station wagon drives up

and stops in front of a house. TWO SENTRIES approach it.
50.
CLOSER ON THE STATION WAGON
Bond and Kerim [actually a stand-in] get out of the car.
1ST SENTRY
(in Romany)
Ah, Kerim Bey!
They walk toward the house.
BEHIND THE ARCHWAY
The Bulgar with the walkie-talkie pulls out an antenna.
1ST BULGAR
(into walkie-talkie)
Hello, Krilencu?
EXT. GYPSY CAMP - MEDIUM SHOT
Krilencu listens on a walkie-talkie, surrounded by OTHER

BULGARS. He glances at his watch, speaks into the walkie-
talkie in Bulgarian, then rises with the others and gets into
a lorry which drives off.
EXT. GYPSY CAMP - HIGH ANGLE - SAME TIME
Bond and Kerim approach. A GYPSY MAN comes running forward

and converses with Kerim in Romany.
CLOSER ANGLE
The Gypsy man finishes talking and runs off.
CLOSER ANGLE - BOND AND KERIM
KERIM
It seems we have come on the wrong
night. Two girls in love with the
same man have threatened to kill
each other. It must be settled in
the Gypsy way. As I am an old
friend of the family, I think we'll
be allowed to stay.
A GYPSY GIRL steps toward them speaking in Romany and

gesturing forward.
KERIM
We are bidden to table. I hope
you're good at eating with your
fingers.
51.
VAVRA (O.S.)
(shouting)
Kerim Bey!
GYPSY CAMP - HIGH ANGLE
Bond and Kerim follow the Gypsy girl across the encampment.
CLOSER ANGLE
PAN ON ANOTHER GYPSY GIRL carrying a liquor bottle and pulling

out the cork with her teeth. She stops at the head table
where Bond and Kerim are sitting with Vavra, the Gypsy
chieftain.
KERIM
Ah, Rachi. Filthy stuff.
The Gypsy girl fills his glass while A THIRD GYPSY GIRL walks
up to Bond carrying a cushion. He rises, she sets it on his
seat, and he sits again, thanking her in Romany.
CUT TO:
A FEMALE GYPSY DANCER
rises into frame raising her arms seductively behind her head
and starts to dance.
SERIES OF SHOTS
- Bond and Kerim look back at her.
- She moves past their table dancing erotically and passes the
MUSICIANS who are playing.
- Bond, Kerim and Vavra watch her (Kerim grinning broadly).
- She continues to dance; TILT DOWN on her swaying hips.
- Kerim holding the Rachi bottle refills his glass.
- The dancer's hips continue to sway.
- Kerim sips from his glass.
- Now she moves her belly in and out seductively.
- Bond, Kerim and Vavra continue to watch.
WIDER ANGLE - THE DANCER

raises her arms above her head and swings her body erotically.
52.
EXT. A GATE - SERIES OF SHOTS - SAME TIME
- A SENTRY stands on the gate watching the encampment.
- Krilencu's head rises over a wall looking at him.
- The sentry continues watching, then glances back.
- Krilencu throws a knife at him.
- The knife pierces the sentry's heart and he falls dead.
- Krilencu gestures to OTHER BULGARS.
KRILENCU
Quick!
WIDE ANGLE - THE ARCHWAY

Krilencu beckons and the lorry drives through the archway. It
stops for a moment for Krilencu to get into the passenger seat
then continues on. PAN ON IT to reveal Grant in f.g., holding
a pistol and watching.
SERIES OF SHOTS
- The Gypsy dancer continues to sway seductively, then drops

to her knees swaying.
- Bond, Kerim and Vavra continue to watch.
- The dancer rises and wiggles her ass frantically, revolves

around then moves forward.
- She approaches Bond who looks on appreciatively.
- She smiles at him as she dances.
- Bond watches intently as she wiggles her ass in front of him.
- Kerim, looking on, grins.
- The dancer leans backwards so that her breasts are almost in

Bond's face. Her mouth comes close to his and they almost
kiss, then she runs off and the music stops.
BOND AND KERIM
BOND
Tell our host his hospitality
overwhelms me.
THREE-SHOT - BOND, KERIM AND VAVRA
Kerim turns to Vavra and speaks in Romany.

53.
TWO-SHOT - BOND AND KERIM
Bond grins at Kerim as Kerim grins off at Vavra.
VAVRA (O.S.)
Thank you! Thank you!
Bond and Kerim laugh.
MEDIUM SHOT - ZORA'S CARAVAN
TWO GYPSY MEN approach. The first one opens the door. ZORA,
wearing a scarf and green top, immediately comes out. PAN
WITH HIM as he walks to VIDA's caravan, pulls back a tarp,
beckons and tells her in Romany to come out. She emerges,
wearing a red top, and walks down some steps.
Zora glares at her then lunges at her and they embrace in

battle.
Vavra calls out in Romany.
The first man separates the two girls.
Kerim turns to Bond.
KERIM
No matter what happens now, say and
do nothing.
WIDE REVERSE ANGLE - THE HEAD TABLE
The two girls approach as Vavra talks to them in Romany.
As Vavra continues speaking in Romany, DOLLY IN on Bond and

Kerim.
KERIM
(to Bond)
He's asking them whether they'll
cease their blood feud and give up
this fight. The elders of the
tribe will then decide who, in the
end, will marry the chief's son.
Vida's voice sounds from O.S. in Romany, replying to Vavra.
TWO SHOT - THE GIRLS

Vida is speaking angrily.
54.
BOND AND KERIM
KERIM
She's saying that...
BOND
Yes, I think I got it without the
sub-titles.
Kerim laughs.
THE TWO GIRLS
start to fight.
SERIES OF SHOTS
- A Gypsy man separates them.

- The girls run forward.
- Kerim watches intently.
- Zora pulls off her scarf and ties it around her waist.
- Vida, watching her angrily, ties her own scarf around her
waist.
- The two girls face each other.
- Bond, Kerim and Vavra look on.
- Vida holds her hands up like finger-nailed weapons.
- Zora lunges forward but passes her.
- Vida turns toward her, again holding up her nailed fingers.
WIDE ANGLE
Bond, Kerim and Vavra watch in b.g. as the two girls face off
in f.g. The girls grab each other and pivot round and round.
Vavra watches intently.
CLOSER ANGLE - THE GIRLS
clutch each other. Vida holds back Zora's hand which tries to
gouge her face. TILT DOWN to their feet as they circle each
other.
WIDER ANGLE - THE GIRLS

Zora trips Vida. She falls to the ground and rolls across it.
55.
As the men watch in b.g., Zora jumps at Vida but misses and
lands face-down. Vida jumps onto Zora's back and starts to
strangle her.
BOND
watches intently.
THE GIRLS
roll around on the ground, clutching each other's throats, as

the men keep watching in b.g.
CLOSER ANGLE - THE GIRLS - SERIES OF SHOTS
- Each tries to strangle the other, Zora atop Vida.
- Zora keeps strangling.

- Vida, looking up, strangles back.
- Vida kicks Zora backwards.
- Zora lands on her ass.
- Both on their knees now, the girls face off.
- Zora glares at Vida.
- The girls rise and clutch each other again.
WIDER ANGLE
The girls fall against a table, men scattering to make room

for them. Vida picks up a bottle, ready to smash Zora's face
with it. Suddenly a GUNSHOT sounds. The girls freeze and
look up. ZIP TILT UP AND ZOOM IN on a sentry on a wall
falling dead in a puff of smoke.
THE HEAD TABLE
DOLLY IN on Bond, Kerim and Vavra jumping up. Bond grabs a

gun from inside his coat.
THE ARCHWAY
The Bulgar's truck drives in.
CLOSER ANGLE - THE TRUCK
Krilencu rides in the passenger seat.

Kerim fires a revolver at him.
56.
Krilencu, outside the truck now, runs forward holding a

revolver and fires it.
WIDER ANGLE - THE ENCAMPMENT
A Gypsy falls dead as A DOZEN BULGARS run in through the

archway firing guns.
BOND
A Gypsy runs past him then Bond rises, aims his revolver and
fires.
KRILENCU
hears the gunshot and dashes off.
KERIM
still sitting at the head table tries to fire his revolver but
it is jammed.
REVERSE ANGLE
Finally Kerim [actually a stand-in] shoots an oncoming Bulgar

who drops to the ground. ANOTHER BULGAR runs toward Kerim.
FRONT ANGLE
The Bulgar jumps onto the table. Kerim upturns it, flinging
the Bulgar to the ground.
REVERSE ANGLE
Kerim [actually a stand-in] fires his gun over the overturned

table.
AT A CARAVAN
A Bulgar with a flaming torch sets the caravan ablaze.
WIDER ANGLE
Bond dashes past in f.g. A Gypsy shoots the Bulgar with the
torch. From O.S., a dagger flies at Bond. It misses him,
lodging in a tent-pole. A fighting Gypsy and Bulgar fall into
the tent. Bond grabs the dagger and cuts down the tent on
them.
KERIM
on his knees fires his revolver again.

57.
KRILENCU
holding his own revolver takes a step back and fires it.
KERIM
is wounded in the arm; he grabs the bullet-hole as blood

gushes out.
BOND
aims his revolver off at Krilencu.
KRILENCU
darts away between two caravans.
BOND
runs forward, chasing him.
A CARAVAN
blazes in flame.
KERIM
looks at his bloody arm. A GYPSY runs behind him firing a

revolver. Kerim picks up his revolver with his other hand and
fires it.
A BULGAR drops dead from the bullet.
ANOTHER ANGLE
A GYPSY fights off a BULGAR with a knife in f.g. as a horse

runs away in b.g.
REVERSE ANGLE
A caravan blazes behind them. Bond enters.
BOND
hits the Bulgar in the neck with a judo-chop and he falls.
THE GYPSY AND BULGAR
roll across the ground clutching each other.
As a caravan blazes behind them, a GYPSY throws a BULGAR over

a corral fence.
58.
AT THE BLAZING CARAVAN
Bond slices a holding rope with the dagger.
THE CARAVAN
rolls forward, crashing into the fighting Gypsy and Bulgar

against the corral fence.
ANGLE FROM BEHIND - BOND
Bond sees Krilencu. He takes a step back and aims the dagger.
KRILENCU
steps sideways and fires his revolver.
BOND
throws the dagger at him.
KRILENCU
runs behind a caravan, avoiding it.
BOND
runs forward then stops beside a caravan.
MEDIUM LONG SHOT
Bond trips a BULGAR running by. The Bulgar falls to the

ground. Bond leans down, smashes the Bulgar's head with the
butt of his pistol, then runs off.
A HIGH ARCHWAY
Grant, holding a revolver, steps through the archway onto a

high ledge and crouches, watching the fracas.
REVERSE ANGLE - OVER GRANT'S SHOULDER
Men fight below as horses run past.
UPWARD ANGLE ON ANOTHER LEDGE
A BULGAR on the ledge fires a pistol. A GYPSY jumps him from

behind. They struggle. A horse crosses in f.g.
BOND
runs forward, aims his revolver and shoots an ONCOMING BULGAR

in the stomach. TILT DOWN as the Bulgar falls and Bond runs
off.
59.
ON THE LEDGE
The fighting men roll off the ledge to the ground as men past
in f.g.
BOND
gripping his gun runs toward a small lake; beyond it is a high

wall and ledge. We glimpse Vavra and a BULGAR running at each
other at the base of the wall.
Bond sees a Bulgar behind him and shoots him. A white horse
runs past.
On the ground, beneath the white horse, Gypsies and Bulgars

are fighting.
Bond turns. He sees Vavra and the Bulgar fighting at the base
of the wall. Above them, a BULGAR aims a rifle downwards from
the ledge.
BOND
Head down!
Vavra drops to the ground. Bond drops to one knee aiming at

the Bulgar on the ledge.
Bond fires. The Bulgar falls. Vavra rises waiving to Bond.
VAVRA
Thank you! Thank you!
Vavra runs off. Bond runs forward firing his revolver again.
Then Bond pivots and upturns a table on which a Bulgar and
Gypsy are fighting. The men land in the lake.
ANGLE OVER GRANT'S SHOULDER
He continues to watch as men fight below and horses run past.

Below him, a BULGAR stands on a straw roof, also watching.
MEDIUM LONG SHOT - BOND
Bond stops and shoots a BULGAR running by; the Bulgar falls
over an overturned table.
MEDIUM SHOT - THE STRAW ROOF
The Bulgar, gripping a knife, jumps off the roof. He lands

just behind Bond.
The Bulgar raises the knife to stab Bond in the back.

60.
GRANT
watching through the archway, fires his pistol.
BOND AND THE BULGAR
The Bulgar drops to the ground. Bond turns and notices him
for the first time.
ANGLE OVER GRANT'S SHOULDER
Grant fires again at the Bulgar as Bond looks at the body.

The body whirls around from the force of the shot.
BOND
looks around in confusion, then looks off and fires his gun.
MEDIUM SHOT - THE GATEWAY
Bulgars begin running out toward the truck. Krilencu follows

then stops and shouts back in Bulgarian to retreat.
More Bulgars run toward the gateway, shooting behind them as

they run.
Krilencu fires his gun at someone then keeps gesturing and

shouting as still more Bulgars run past. Krilencu runs out
after them.
HIGH WIDE SHOT - THE GYPSY CAMP
The battle ends as Gypsies surround the remaining Bulgars as

others retreat in b.g.
EXT. THE ENCAMPMENT - NIGHT
PAN ON BOND returning his revolver to its holster as he walks.

He reaches a tent where Kerim holds a bottle of Rachi.
KERIM
Did you get Krilencu?
BOND
No.
Bond takes the bottle and pours alcohol on Kerim's wound. A

GYPSY GIRL walks by.
BOND
(to the girl)
Just a minute. Here.
(he takes her scarf)
Thank you.
61.
The girl walks off. Bond presses Kerim's handkerchief against

his would.
KERIM
You fought well. I am nothing but
a clumsy old man.
A SCREAM sounds from O.s.
THEIR POV - THE GYPSY CAMP
Vavra and some torch-bearing Gypsies surround a Bulgar on the

ground.
KERIM (O.S.)
They are making one of the wounded
Bulgars talk.
Vavra looks back.
VAVRA
Kerim Bey!
Vavra continues speaking in Romany.
BOND AND KERIM
The scarf has been tied like a sling over Kerim's arm and
shoulder. Kerim holds the Rachi bottle.
KERIM
It was me they were after. Why
would they want me out of the way?
Bond steps behind him and adjusts the sling.
KERIM
Tomorrow we will have to find
Krilencu's hide-out.
Bond steps to his other side and takes the bottle from him.
BOND
In the meantime, I'll take care of
this filthy stuff.
VAVRA (O.S.)
[He calls to them in Romany.]
Vavra approaches speaking fondly. When he reaches them he

pats Bond's shoulder.
62.
KERIM
Vavra thanks you for saving his
life. You are now his son.
BOND
(to Vavra)
Oh, thank you.
(to Kerim)
I'd like to ask him a favour.
Could he stop the girl fight?
Kerim speaks to Vavra in Romany. Vavra replies with a laugh,

pats Bond's shoulder again and exits.
KERIM
(to Bond)
He says your heart is too soft to
be a real Gypsy. But he'll let you
decide the matter.
BOND
As if I didn't have enough
problems!
He raises the Rachi bottle and sniffs it.
WIDE ANGLE - THE ENCAMPMENT
More Gypsies now surround the Bulgars and their truck.
DISSOLVE TO:
INT. VAVRA'S TENT - NIGHT
Bond sits at a bowl washing his face then picks up a towel.
He hears something and looks back. DOLLY BACK TO REVEAL Zora

and Vida entering demurely, then Kerim follows smoking a
cigarette. He leans devilishly against a tent-pole.
KERIM
(to Bond)
Vavra said for you to decide. So
decide. They are both yours.
He puts the cigarette in his mouth, turns and exits chuckling.
BOND
(to himself)
This might take some time.
DISSOLVE TO:
63.
EXT. THE ENCAMPMENT - DAY
PAN ACROSS the camp as Gypsies make repairs, tend animals and
cook.
EXT. VAVRA'S TENT - SAME TIME
Bond reclines on cushions with a coffee tray beside him as

Zora and Vida kneel before him. Zora hands him a cup of
coffee as Vida sews his shirtsleeve.
Bond raises the cup but lowers it again so Vida can cut the
thread with her teeth. DOLLY BACK.
DISSOLVE TO:
EXT. THE GYPSY HOUSE - NIGHT

The station wagon waits at the porch. Kerim is in the
passenger seat and his driver behind the wheel.
Bond emerges from the house with Vida on his arm, followed by
Zora, Vavra and a GUARD. Vida takes Bond's hands, then Bond
turns to the car. She calls to him.
The driver opens the back door.
BOND
(to Kerim)
Did you pick up that package at the
hotel?
KERIM
It's on the seat.
DOLLY IN as Bond climbs into the back seat and Kerim passes
the rifle back to him.
BOND
Thank you.
Bond shuts the door and the car drives off. TILT UP to the
porch where the Gypsies all wave goodbye and call out in
Romany.
DISSOLVE TO:
EXT. A SIDE STREET IN ISTANBUL - NIGHT
Bond and Kerim walk round a corner. Behind them stands a two-
story apartment house with a billboard mounted on it.
The billboard contains a picture of Anita Ekberg and the
words, 'HARRY SALTZMAN, ALBERT R. BROCCOLI PRESENT BOB HOPE
AND ANITA EKBERG in CALL ME BWANA.'
64.
Bond and Kerim stop at a dark alcove beside a shop and look
back.
KERIM
Twice has Krilencu tried to kill
me.
CLOSER ANGLE - BOND AND KERIM
They step further back into the alcove.
KERIM
The third time he will succeed...
unless I get him first. That I'll
do tonight.
BOND
Not with that arm, you won't.
Bond takes the folded rifle from his jacket.
BOND
You'd better leave it to me.
KERIM
I'm already too much in your debt.
BOND'S HANDS
assemble the rifle.
BOND (O.S.)
How can a friend be in debt?
TWO-SHOT
BOND
Here.
He hands Kerim an infra-red telescopic lens. Kerim looks

through it.
KERIM'S POV - THE BILLBOARD (THROUGH LENS)
KERIM (O.S.)
Infra-red lens.
It pans across the billboard then stops on Ekberg's mouth.
KERIM
(suddenly)
Shh!
65.
BOND AND KERIM
They step back and look through some fencing. They see a
clear street. They keep looking.
From their POV, TWO POLICEMEN come walking down the street
beyond the fence. Bond and Kerim keep watching, Bond gripping
the rifle. The policemen come closer then stop.
Kerim signals Bond to do nothing, then steps forward. The

policemen turn away.
KERIM
My sons. They will ring his
doorbell. He has a private escape
hatch.
Kerim hands the infra-red lens to Bond.

WIDE ANGLE - THE STREET
Bond and Kerim lurk in f.g. as the two policemen approach the
apartment house in b.g.
IN THE ALCOVE
Bond raises the rifle to look through it but it wobbles.

Kerim steps in front of him.
KERIM
Try this for size.
Bond rests the barrel across Kerim's shoulder and peers

through the lens.
BOND'S POV - THE BILLBOARD (THROUGH LENS)
We PAN ACROSS the billboard to reveal two windows.
KERIM (O.S.)
Do you notice anything?
BOND (O.S.)
Not yet.
He keeps looking.
KERIM (O.S.)
She has a lovely mouth, that Anita.
We PAN BACK ACROSS the billboard to Anita's mouth.

BOND (O.S.)
Yes. I see what you mean.
66.
LONG SHOT - THE SIDE OF THE HOUSE
The two policemen approach.
BOND AND KERIM
KERIM
(frustrated)
Arm or no arm, I have to pull that
trigger.
BOND
(handing him the
rifle)
Here, if you think you can. You've
got one shot, remember.
KERIM
It'll have to do.
Kerim puts the rifle on Bond's shoulder and looks through the
sight.
LONG SHOT - SIDE OF HOUSE
The two policemen stand at the door.
CLOSE SHOT - THE DOORBELL
The hand of one of the policemen rings the bell.
WIDE ANGLE - FRONT OF HOUSE
The light in one of the windows goes out, then suddenly a

trap-door opens in Anita's mouth and light streams through.
BOND (O.S.)
Quick! He's coming!
ZOOM IN to the trap door. Krilencu peers out.
SERIES OF SHOTS
- Kerim takes aim over Bond's shoulder.
- Krilencu lowers a rope through the opening.
- DOLLY IN on Kerim watching intently.
- Krilencu climbs out the opening.
- Kerim keeps watching.

BOND
Quick!
67.
- Krilencu dangles from the rope.
- DOLLY IN closer on Kerim. He fires the rifle.
- Krilencu spins around, shot in the back.
- Kerim looks up at him over Bond's shoulder.
- Krilencu hangs desperately from the rope, then falls with a

scream.
WIDE ANGLE - THE APARTMENT HOUSE
Krilencu's body tumbles to the ground.
CLOSER ANGLE
TILT DOWN on Krilencu's falling body. It lands with a CRUNCH.

BOND AND KERIM
KERIM
(handing him the rifle)
That pays many debts.
Kerim walks off.
BOND
She should have kept her mouth
shut.
WIDE ANGLE - THE STREET
Bond and Kerim walk off around the corner.
DISSOLVE TO:
INT. LOUNGE OF BOND'S BRIDAL SUITE - NIGHT
Bond enters the darkened room, turns on the lights and looks
around. He walks to a table where his briefcase rests, sets
his folded rifle on it and tosses down his key.
DOLLY BACK as he slips off his shoes, picks up the briefcase

and rifle, walks to a couch and sits. A set of French doors
behind him is open, revealing a balcony, but he doesn't
notice.
He sets down the briefcase, opens it, places the rifle inside
and closes it. Then he rises, removes his jacket and holster,
and picks up a telephone.
68.
BOND
(into phone)
Hello?... Uh, breakfast for one at
nine, please... Green figs,
yogourt, coffee very black... Thank
you.
He sets down the phone, removes his tie and walks to the
bathroom door, then turns and looks back. He sniffs, but
ignores it and turns back to the door unbuttoning his shirt.
IN THE BATHROOM
The door opens. Bond enters removing his shirt and turns on
the lights. The tosses his shirt aside and turns the tap on
the bathtub. Steaming water comes out.
He removes his socks, then DOLLY IN as he removes his pants.

Suddenly he hears a soft noise. He glances around then
finishes removing his pants. He hears a louder noise. He
pulls a towel around his waist and leaves the bathroom.
IN THE LOUNGE
Bond comes out of the bathroom. He picks up his gun and goes
out onto the balcony.
BOND'S POV - THE BEDROOM
We see it through curtains on a set of French doors. A naked

Tania runs past and climbs into the bed.
IN THE BEDROOM
Bond enters through the French doors. He looks ahead.
Tania, in bed, whips a blanket around her.
PAN ON BOND as he walks toward her aiming his gun.
TANIA
You look surprised. I thought you
were expecting me.
BOND
Oh, so you're Tatiana Romanova.
TANIA
My friends call me Tania.
BOND
Mine call me James Bond.
He places the gun in his other hand and shakes her hand.
69.
BOND
Well, now that we've been properly
introduced...
Bond moves toward her holding the gun. She pushes it away.
TANIA
Careful. Guns upset me.
He sits on the edge of the bed and sets the revolver on the
nightstand.
BOND
I'm sorry. I'm a bit, eh... upset
myself.
CLOSE-UP - TANIA
TANIA
You like just like your... your
photograph.
CLOSE-UP - BOND
[BOND
You look even better than yours.
Much... much better.
TANIA
If you are looking for concealed
weapons...
She touches a black band around her neck.
BOND
I take it this is your traveling
outfit?
TANIA
Oh, you don't think this kulturny?
BOND
Well, I'll tell you something
kulturny.] You're one of the most
beautiful girls I've ever seen.
CLOSE-UP - TANIA
TANIA
Thank you, but I think my mouth is
too big.
70.
CLOSE-UP - BOND
BOND
No, it's the right size...
EXTREME C.U. - TANIA
Her lips part invitingly.
BOND
BOND
... for me, that is.
He leans forward and they kiss.
BOND
Yes.
(he kisses her again)
Is it here?
TANIA
What?
BOND
(brushes his lips
against hers)
The decoding machine —- the Lektor.
TANIA
(kissing him)
Must we talk about it now?
BOND
Or is it at the Russian Consulate?
They kiss again, lingering.
TANIA
Umm... yes.
BOND
Yes.
(he leans back)
I would need a plan of the place.
If you could get one, we can meet
at the Saint Sofia Mosque, like we
were tourists.
TANIA
(leaning forward)
Why don't you ask me that... later?
71.
She embraces him, then runs a finger down his back until it
touches the scar.
BOND (O.S.)
Now what are you looking for?
INTERCUT - BOND AND TANIA
TANIA
The scar. You see, I know all
about you... from your file.
BOND
Mmm, do you? Well, I hope you're
not, uh... disappointed.
She leans back onto the pillow seductively.

TANIA
I will tell you in the morning.
Bond embraces her and they kiss.
ANGLE ON THE BED
revealing a mirror behind it as Bond and Tania kiss. PAN UP

to the mirror.
REVERSE ANGLE ON BOND AND TANIA
We see them now through the other side of a one-way mirror.

PULL BACK TO REVEAL Kleb and a MAN in a storeroom; he is
filming Bond and Tania in bed. He nods to Kleb.
DISSOLVE TO:
EXT. ISTANBUL - DAY
A wide shot looking at the Aya Sofia Mosque over the

Bospherous.
GALATA BRIDGE - DAY
Tania approaches the bridge and walks up some steps. Hassan

enters in f.g. and watches her.
DISSOLVE TO:
EXT. AYA SOFIA MOSQUE - DAY
PAN ON Tania as she walks past the mosque, then HOLD. Hassan
peers around the corner of the building at her.

72.
INT. AYA SOFIA MOSQUE - WIDE ANGLE - SAME TIME
A GUIDE leads a TOUR GROUP through the mosque.
GUIDE
We are now approaching the most
interesting corner of Saint
Sofia... including these two great
red porphyry columns stolen and
brought from Egypt.
Tania enters through a side door. Bond enters behind the

sightseers. He wears sunglasses and carries a bag. As they
walk away he turns to one side.
GUIDE (O.S.)
In front of them, alabaster urn was
brought from Bergama, a famous
historical city near Smyrna. It
dates back from the Alexander the
Great period.
Bond stops beside a towering column.
Hesitantly, Tania walks closer. She stops and pulls her hair
back from her eyes and looks at him. Bond takes off his
sunglasses and looks back. Tania looks back.
Bond gestures with the sunglasses for Tania to move off.
GUIDE (O.S.)
About sixteen forty-eight, Sultan
Murad the Fourth brought it from
Bergama. It was used as an
ablution fountain. It contains a
thousand litres of water. Right
after the ablution fountain we are
going to a highly interesting
column over there...
Tania moves off and Bond does the same.
We CONTINUE WITH BOND as he passes more columns then reaches

the base of a huge pillar-complex. Right ahead he sees
Hassan, looking around the far end of the complex. Bond darts
forward to conceal himself against it.
GUIDE
... known for centuries as Saint
Sofia wishing column. Tens of
thousands of people have wished
here, putting their right hand and
middle finger in the hole.
73.
LONG SHOT - TANIA
approaches the pillar-complex as Hassan watches from f.g.
BOND
runs to the other side of the complex to intercept Tania but

doesn't see her.
TANIA
stops at pillar on the side of the complex near Hassan and

opens her handbag.
BOND
sets his bag down behind a pillar and runs forward pulling out
his revolver. He wraps a handkerchief around it. Then he
returns to the base of the complex and peers around at Hassan,
who still stands looking around the corner ahead.
TANIA
Her hand sets down a compact at the base of the pillar. TILT
UP as she walks away.
AT THE PILLAR-COMPLEX
Hassan, looking around the corner, watches her go.
Bond, behind the next corner, watches Hassan. Bond steps back
to see Tania go then steps forward again.
Hassan heads for the pillar where Tania left the compact.
Bond looks back, looks in Hassan's direction, looks back

again.
HASSAN
His hand starts to pick up the compact at the base of the

pillar.
Suddenly ANOTHER MAN enters. His foot smashes down onto the
hand holding the compact and he bashes Hassan's neck with two
Karate chops. Hassan drops to the floor dead, the compact in
his hand.
BOND
looks in Hassan's direction then steps around the corner and

heads for the spot where Hassan had stood.
74.
HASSAN'S BODY
His attacker starts to walk away then turns back, pulling off
a pair of gloves. It's Grant. He looks ahead.
GRANT'S POV - BOND
walks along the pillar-complex toward the corner.
GRANT
walks quietly away.
WIDE SHOT - BOND
DOLLY IN as he arrives at Hassan's body.
Bond reaches down and takes the compact from his hand. He
looks inside and sees a piece of paper. He removes and opens
the paper. It is a small, hand-drawn map.
CUT TO:
ANOTHER MAP
a large blueprint of the same area. It lowers revealing
PULL BACK as Kerim sets the blueprint on his desk. Bond sits
on the edge of the desk holding the compact.
KERIM
I promise you it wasn't one of my
men who killed him.
BOND
Well, he didn't die of old age.
All I know is that it saved me a
job.
(removes the hand-
drawn map)
Once he'd seen the girl, she was
obviously compromised and so...
KERIM
(indicating the compact)
And he wasn't killed because of
that!
BOND
Let's just say that Istanbul's a
rough town.
75.
DOLLY IN as Bond sets down the compact, approaches Kerim and

unfolds the hand-drawn map.
BOND
Now, let's see how Tania's map of
the Russian Consulate compares with
your architect's plans.
ANGLE ON THE DRAWINGS
Bond's finger points between the two maps.
BOND
This is the Conference Room in the
Russian Consulate. Yeah, that
checks. And this is the
Communication Room. That's the
same.
TILT UP to TWO-SHOT of Bond and Kerim.
BOND
Now, she says she works there with
the Lektor every day between two
and three.
KERIM
How is she going to get the machine
over to us?
BOND
Well, she's leaving that to me.
She'll do anything I say.
Kerim laughs. DOLLY BACK as he picks up the architect's

drawing and sits on the edge of his desk in f.g.
KERIM
Anything? My dear James, you are
not using this.
(taps his head)
It all sounds too easy to me.
(starts folding the
drawing)
We don't even know if she's telling
the truth.
BOND
Well, I intend to find out.
KERIM
Where? In the hotel?
76.
BOND
No, she won't go there again. Says
it's too dangerous.
KERIM
The old game! Give a wolf a taste
then keep him hungry. My friend,
she's got you dangling.
BOND
That doesn't matter. All I want is
that Lektor.
KERIM
All?
(looks back at Bond)
Are you sure that's all you want?
BOND
Well...
They both grin, then Kerim laughs then Bond laughs.
CUT TO:
EXT. BOSPHEROUS - DAY
A ferry boat passes by in the crowded harbor and toots its

whistle.
ON THE FERRY BOAT
Bond walks upstairs onto a deck then along the deck. He wears
a hat and sunglasses and carries a camera. He stops, leans
back against a railing and removes his sunglasses.
Tania rounds a corner of the deck ahead of him. She wears

sunglasses, a scarf and long coat.
Bond looks at her. She looks back. He approaches her but

stops short, turning to the railing and opening his camera
case. Tania walks up beside him.
TWO-SHOT - BOND AND TANIA
Bond winds the camera.
BOND
Lovely view.
TANIA
James, we must leave here now. If
that agent reports my seeing you...
77.
BOND
Don't worry. He won't.
TANIA
But you don't understand —- it's a
danger.
Bond looks at her unconcerned.
He steps back and aims the camera at her.
TANIA
James, look...
BOND
Smile!
He presses a button, then gestures to her to move back as a

MAN walks past them.
BOND
Another one. Further back.
DOLLY IN as they move to a corner of the deck and the man

walks off.
INTERCUT CLOSE-UPS - BOND AND TANIA
BOND
About the machine...
TANIA
That's all you're interested in.
Not me.
BOND
Business first.
TANIA
I know. Once you have got what you
want...
BOND
I haven't got it yet. But if you
tell me about the machine, well...
afterwards we won't always be
working on the company's time.
TANIA.
All right. What do you want to
know?
Bond glances around then lowers the front flap of the camera
case, revealing a tape recorder.
78.
BOND
Talk into this. Answer my
questions quietly but clearly.
BOND
How long is the machine?
TANIA
Like... like a typewriter.
BOND
Weight?
TANIA
About ten kilos. In a brown case.
Brown like your eyes.
BOND
Keep it technical. Self-
calibrating or manual?
TANIA
Both. With an in-built
compensator. James, couldn't
we...?
BOND
Not now. Talk into the camera.
How many keys?
TANIA
Symbol or code keys?
BOND
Both.
DISSOLVE TO:
A LARGER TAPE RECORDER
The reels are spinning. PULL BACK to reveal:
INT. 'M'S' OFFICE - DAY
The tape recorder is on 'M's' desk and he sits listening.

Moneypenny sits beside him taking notes. Across the desk sit
a NAVAL OFFICER, an ARMY OFFICER and FOUR OTHER
SUPERNUMERARIES. 'M' lights and puffs his pipe.
Bond and Tania's voices come through the speakers:

79.
TANIA'S VOICE
There are twenty-four symbols,
sixteen code keys. It is inserted
in a slot. And the message comes
out on a paper roll from another
slot on the other side. And the
mechanism is... oh, James...
James... will you make love to me
all the time in England?
BOND'S VOICE
Day and night. Go on about the
mechanism.
TANIA'S VOICE
Oh, yes, the mechanism. Once when
it was being repaired I saw the
inside. There were many perforated
discs made, I think, of copper,
with a small light...
ANGLE ON 'M' AND MISS MONEYPENNY
TANIA'S VOICE
Dooshka, tell me the truth. Am I
as exciting as all those Western
girls?
Miss Moneypenny blinks, then breaks into a cryptic grin.
BOND'S VOICE
Oh, once when I was with 'M' in
Tokyo, we had an interesting
experience.
'M' shuts off the machine.
'M'
Thank you, Miss Moneypenny. That's
all, that's all.
She gets up and exits past the men. We hear a door close,
then 'M' re-starts the tape recorder.
BOND'S VOICE
Later, later.
IN MISS MONEYPENNY'S OFFICE - SAME TIME
Miss Moneypenny flips on her intercom and sits down at her

desk. She hears the tape playing in the other room.
BOND'S VOICE
Those copper discs, are they light?
80.
TANIA'S VOICE
Of course. Light, light. James,
come closer. I want to whisper
something.
BOND'S VOICE
Go on with what you were telling
me... No, not that! The mechanism!
'M'S VOICE (OVER INTERCOM)

Miss Moneypenny, as you're no doubt
listening, perhaps you'd take this
cable. Text reads... merchandise
appears genuine...
DISSOLVE TO:

Bond sits across from Kerim's desk reading the telegram aloud.
BOND
(overlapping 'M')
'... merchandise appears genuine.
Stop. Go ahead with deal. Signed
'M'.'
Kerim walks up to Bond, a cigarette in a yellow holder in his

mouth. Kerim takes the telegram, sits on the edge of his desk
and reads.
BOND
(to Kerim)
Now all I have to do is to tell the
girl the date.
KERIM
The thirteenth?
BOND
The fourteenth.
DISSOLVE TO:
EXT. RUSSIAN CONSULATE - DAY
A taxi pulls up to the curb. Bond hands the driver some money
and gets out. TRUCK WITH HIM as he walks to the embassy gate.
A PORTER opens the gate for him.
BOND
Visa?
The porter opens the gate and gestures to Bond to enter. Bond
passes into the compound.
81.
INT. CONSULATE VESTIBULE - SAME TIME
Bond steps up to a DOORMAN.
BOND
Visas?
DOORMAN
(pointing; in Russian)
There.
BOND
Thank you.
PAN ON BOND as he walks into a large reception room. He stops

at a desk where a CLERK faces a MAN. There is a large clock
on the wall in b.g.
CLERK
(in Russian)
Take and fill in this form, write
your surname and bring it back to
me in five minutes.
MAN
(in Russian)
Yes, thank you.
The man walks away.
BOND
(to clerk)
Visa, please.
The clerk hands him a form.
BOND
Your clock.
(glances at it)
Is it correct?
CLERK
Always.
BOND
Of course.
Bond walks to a bench at the wall. The clerk calls out

"Agregarium!" A SECOND MAN rises from the bench and walks
off.
Bond looks at his watch.

82.
CLOSE SHOT - BOND'S WATCH
It shows 3:00.
INT. UNDERGROUND CISTERN - SAME TIME
Kerim sits on a box looking at his watch. A detonator rests

at his feet. In b.g., rats scurry about through a break in
the cavern wall.
IN THE RECEPTION ROOM
Bond walks back to the clerk, who is still talking to the

second man.
BOND
Excuse me. You did say your cock
was correct?
CLERK
Russian clocks are always —-
A sudden explosion smashes through the floor behind Bond. The

clock falls from the wall. Debris cascades down from the
ceiling.
Bond rises with a big grin. He says something to himself and

turns to an archway behind him.
Embassy men run frantically around as Bond exits through the

archway.
The clerk starts grabbing drawers from his desk. Other

EMPLOYEES run behind him with drawers and files.
IN A HALLWAY
Smoke fills it. Bond runs down the hall carrying a gas mask.
TRUCK WITH HIM as he passes through a swinging door into

another hall and puts on the mask. He continues into the
conference room then turns to an iron gate. At the same time,
a LADY emerges through the gateway carrying files.
CLOSER ANGLE - THE GATEWAY
Bond lunges toward the gateway. A GUARD holding a gun tries

to close the gate. Bond grabs his arm and makes the gun fire
wide.
83.
INT. COMMUNICATIONS ROOM - SAME TIME
Tania looks up from her desk, which she had been wiping with a
cloth. The Lektor sits on the desk.
BOND AND THE GUARD
Bond wrestles the guard to the floor and knocks him out with a
judo-chop to the neck.
IN THE COMMUNICATIONS ROOM
DOLLY IN as Bond runs in. He sees the machine.
BOND
Is this the Lektor?
TANIA
(unplugs it and hands
him the cord)
Yes!
Tania starts to cough. Bond hands her the gas mask.
BOND
Here, take this. It's only tear
gas.
TANIA
I thought it was for tomorrow, as
today is the thirteenth, isn't it?
BOND
This is a hell of a time to be
superstitious.
(he shuts the case
and grabs the Lektor)
Come on!
He runs through the gateway; Tania follows holding the gas

mask.
IN THE CONFERENCE ROOM
A few flames burn. Bond and Tania run inside.
BOND
Come on, quickly!
DOLLY WITH THEM as he leads her across the room to a hole in

the floor. He climbs into the hole, Tania following.
84.
EXT. CONSULATE - LOW ANGLE - SAME TIME
Smoke pours out as men run from the Consulate carrying

documents.
WIDER ANGLE - THE STREET
A fire truck pulls up as a crowd watches.
ANGLE ON THE CONSULATE
Firemen run toward the building with hoses.
IN THE UNDERGROUND CISTERN - A CAVERN
Kerim helps Bond and Tania down some steps from a tunnel.
BOND
(to Tania)
Keep your head down.
DOLLY BACK as they walk under an archway into a second cavern.
Suddenly they see a flood of rats running at them. Tania

screams.
BOND
Back inside!
He and Tania turn back. The rats keep coming.
IN THE FIRST CAVERN
Kerim watches as Bond and Tania enter under the archway.
KERIM
This way! Quickly!
They run off. The rate keep coming.
WIDE ANGLE ON CAVERN - TRUCKING SHOT
Kerim leads Bond and Tania through a forest of pillars. PAN

ON THEM as they run to a stairway.
They dash up two flights of steps.
INT. A KIOSK
A knock sounds from under a trap-door in the floor. A MAN

opens it. Kerim comes up followed by Tania.
85.
EXT. KIOSK - LONG SHOT - DAY
Kerim, Tania and Bond run outside. They are across the street
from the Consulate. The street is blocked by fire trucks and
spectators. They run across the street, avoiding traffic.
CUT TO:
EXT. ISTANBUL STATION - DAY
PAN ON Kerim, Tania and Bond as they run across a platform to

a train. Bond jumps over a newsrack to keep up with them. An
announcement is being broadcast in Turkish.
Tania suddenly stops.
Bond stops and runs back to her.

BOND
What's the matter?
TANIA
(looking off)
Benz, the Russian security man.
TWO-SHOT - BENZ AND ANOTHER MAN
sit at a table eating. Benz looks off at Tania and rises.
BOND AND TANIA
He takes her arm.
BOND
Come on, never mind!
ANGLE ON THE TRAIN
Kerim stands on the steps with a PORTER on the platform beside

him.
KERIM
(calling back to Bond)
Hurry! Hurry!
WIDE ANGLE - THE TRAIN
Bond and Tania jump aboard and the train starts to move. Benz
and the other man look on in f.g.
ANGLE ON BENZ
He suddenly jumps up, grabbing a briefcase and hat.
86.
BENZ
(to the other man;
in Russian)
Telephone the Consulate!
OTHER MAN
(in Russian)
Yes... yes...
BENZ
(in Russian)
Dear Corporal Romanova has defected
to the English!
He runs to the passing train and jumps aboard.
Grant watches him through a window of one of the compartments.

ZOOM IN on Grant as he closes the window.
INT. CORRIDOR OF TRAIN - DAY
Kerim leads Tania and Bond down the corridor.
KERIM
Here's one of them... and there's
the other one.
Kerim steps into the first compartment as Bond and Tania turn
to the other.
IN THE FIRST COMPARTMENT (TANIA'S)
Kerim opens a connecting door to the other compartment,

revealing Bond and Tania. Kerim hands Bond two passports.
KERIM
Your passports. The pictures do
not do you justice. I have rarely
seen a handsomer couple.
Bond looks at them. Tania looks over his shoulder.
BOND
(reading)
Mister and Misses David Somerset.
(to Tania)
Your name's Caroline.
He hands her a passport.
TANIA
Caroline. I like that name.
87.
BOND
You're accompanying me on a
business trip. On the way back to
Derbyshire.
TANIA
To our children?
BOND
No children.
DOLLY BACK as Bond and Kerim turn to the door to the corridor.
TANIA
Not even one little boy?
BOND
(turning back)
Nyet.
KERIM
I like big families myself. In
fact, my whole life has been a
crusade for larger families.
BOND
So I've heard.
Kerim turns down the corridor. Bond stops in the doorway.
BOND
Tania?
TANIA
Yes?
BOND
Keep the door locked. I'll knock
three times.
TANIA
Okay.
He shuts the door and she locks it.
IN THE CORRIDOR
Bond looks out the window. Kerim takes out his yellow
cigarette holder and his cigarette case.
KERIM
I'll go see the conductor now.
BOND
You sure he'll cooperate?
88.
KERIM
Oh, we've done business before.
He'll stop the train near the
Bulgarian frontier where my sons
will be waiting with a car. We'll
be there... about six o'clock.
A WOMAN IN A SCARF turns into the corridor and walks toward

them.
BOND
And the airstrip?
KERIM
Twenty miles.
Bond and Kerim pause and back up. She walks between them and
down the corridor then enters a compartment.
KERIM
The plane is chartered to Athens.
You'll be in London tomorrow.
Kerim places a cigarette in the holder and turns down the

corridor.
BOND
We'll drink to that in London.
He knocks three times on the compartment door.
IN TANIA'S COMPARTMENT
She opens it to admit Bond. He enters closes it behind him.

She wraps her arms around him.
TANIA
So, we are really on our way to
England!
BOND
Yes, with a lovely two-day
honeymoon before us.
TANIA
Honeymoon? And I have nothing to
wear.
BOND
Ah!
He holds up her black ribbon and puts it around her neck.

BOND
Your trousseau!
89.
TANIA
(holding the ribbon)
Oh, James!
BOND
(holding up a finger)
Ah, one moment.
He backs away raising his jacket cuffs then holds up his hands
as if to say there's nothing there, then he disappears behind
the door to the other compartment.
Tania looks on in puzzlement.
Suddenly the door is kicked open revealing Bond holding up a

blue negligee.
TANIA
Oh, no! James, James!
(she hugs him, then
glances down
surprised)
Oh, look! Look!
She kneels in amazement to a suitcase and looks through the

clothes in it.
She rises holding another blue negligee. She swings around

then holds it up against herself. Bond takes the black ribbon
from her hand and holds it against her neck.
BOND
There.
She laughs.
CUT TO:
EXT. TRAIN - DAY
PAN on it as it barrels past.
DISSOLVE TO:
INT. TANIA'S COMPARTMENT - DAY
Tania wears a blue negligee and dances around humming "The

Blue Danube." Bond sits on the couch reading a newspaper.
She drops down and lies across him. He wraps an arm around
her neck.
TANIA
Oh, I will wear this one... in
Piccadilly.
90.
BOND
You won't. They've just passed
some new laws there.
IN THE CORRIDOR
Benz stands at door to Tania's compartment, listening, then

moves on. Kerim rounds the corner behind him and watches.
Benz pauses the next compartment door, listens and moves on.
Kerim watches closely, then knocks on Tania's door.
Through the doorway to Bond's compartment we see her feet as

she lies with him in bed.
BOND (O.S.)
You're nearest.
TANIA
Oh, all right.
Tania gets up and walks into her compartment. She is weaering

her negligee and has her hair tied up in a bun. She opens the
door. Kerim enters and looks at her approvingly.
KERIM
Charming! Charming!
Kerim turns to the doorway to Bond's compartment. Bond

emerges tying his tie.
KERIM
Let's go to the restaurant car,
James, for... that drink.
BOND
Surely.
KERIM
(off to Tania)
Charming!
Kerim exits past Tania. Bond follows putting his coat on.
BOND
(to Tania)
We'll continue the fashion show
later.
He goes out into the corridor and she shuts the door and locks
it.
91.
IN THE CORRIDOR
Bond and Kerim look out the window.
KERIM
Everything is arranged for me to
stop the train. We'll get off from
the restaurant car...
(he nods down the hall)
It's up that end.
BOND
Fine, we'll meet you there at six
o'clock then.
KERIM
Make it just a little later. But
there are slight complications.
(he turns and looks
up the hall)
One of the Russian security men,
Benz —- he watches the airports and
the stations —- he's on the train.
BOND
But he couldn't have had time to
contact the Consulate before he
boarded.
KERIM
Well, just in case, I'll keep him
company for the next two hours
until it's time to get off.
PAN on Kerim as he starts down the corridor.
KERIM
Perhaps you'd like me to introduce
you?
BOND
(approaching him)
Charming!
They walk together down the corridor.
IN BENZ' COMPARTMENT
Benz stands looking out the window. He hears a knock at the

door and turns.
KERIM (O.S.)
Ticket control.
92.
Benz walks to the door taking some money from his pocket. He
opens the door then freezes. Kerim's hand aims a gun at his
stomach. Benz backs away, drops onto the couch and drops the
as Kerim follows.
Bond shuts the door. PAN OVER to Kerim. He pulls Benz'

handkerchief from his pocket and stuffs it in his mouth.
KERIM
Do not be alarmed, my friend. We
will make you as comfortable as
possible.
Bond and Kerim pull Benz to his feet. Kerim takes a gun from
inside his jacket then Bond pulls the jacket down over his
arms.
KERIM
Now I'm sure Commissar Benz will
have a much safer journey.
Bond pivots Benz forward.
BOND
I'm not mad about his tailor. Are
you?
Bond shoves him and he drops back onto the couch.
KERIM
You know, James, life in Istanbul
will never be the same without you.
BOND
I'll see you in the restaurant car.
Bond walks off. TILT DOWN with Kerim as he sits beside Benz
and starts to raise his yellow cigarette holder.
KERIM
I've had a particularly fascinating
life. Would you like to hear about
it?
Benz grunts.
KERIM
You would?
IN THE CORRIDOR
Bond walks away through a doorway into the next train car.
Grant emerges from behind the doorway, wearing his gloves. He
glances back at Bond then walks forward.
93.
She lies on the couch wearing a blue nightdress and looking at

her face in a mirror. She holds a lock of hair under her nose
like a mustache.
She hears a triple-knock at the door, jumps up and opens it.

Bond enters looking at her and smiling.
TANIA
Do you like it?
She walks toward the couch. Bond follows.
BOND
Yes. It does rather suit you.
TANIA
I will save everything else for
England.
BOND
Uh, it is four o'clock, you know.
TANIA
It is not kulturny in the
afternoon?
(Bond looks at her)
Even on a honeymoon?
(Bond keeps looking)
Than I will take it off.
She steps forward out of frame removing a strap as Bond

watches.
BOND
I think we are talking at cross-
purposes again. [A couple of hours
will straighten that out.
Bond pulls down the blind.]
CUT TO:
EXT. TRAIN - DAY
FOLLOW the spinning wheels.
DISSOLVE TO:

CLOSE SHOT of the wall, then TILT DOWN to reveal Bond and
Tania lying on the couch. She smokes a cigarette.
94.
BOND
Tania...
TANIA
Um-mm?
BOND
We'd better get dressed now.
TANIA
Why?
BOND
It's almost six.
TANIA
So?
BOND
Well, it's, uh... it's tea time.
TANIA
We'll have it in here. We'll have
all our meals here.
BOND
Yeah, that would be splendid. But
I've arranged to meet Kerim in the
restaurant car.
TANIA
Mmm, you go alone. I will stay
here.
Bond takes her cigarette, rises and walks to the window which
is covered with the blind.
BOND
My dear Mrs. Somerset, we're
supposed to be a respectable
English couple.
(he pulls on the
blind)
We would certainly have tea in the
restaurant car —-
The blind rolls up with a loud snap that startles Bond. Tania
walks up to him.
BOND
Now, listen...
(kisses her)
Just do as I say, will you?
95.
TANIA
Yes, James.
He picks up his tie and passes her, smacking her bottom.
TANIA
But there are some English
customs...
BOND
(looking back)
Hmm?
TANIA
... that are going to be changed.
BOND
(wrapping his tie
around her finger)
But of course, darling.
She holds the tie between her teeth and starts laughing. Bond
grins.
CUT TO:
EXT. TRAIN - HIGH ANGLE - DAY
PAN on it as it rushes forward.
DISSOLVE TO:
INT. BOND'S COMPARTMENT - DAY
Seen through the open doorway of Tania's compartment, Bond and

Tania are dressed. She wears her long jacket and buttons it.
Bond wears his shoulder holster and puts on his coat.
TANIA
Do I look nice, Mister Somerset?
BOND
Yes. —- Uh...
He faces her and puts a ring on her finger.
BOND
Misses Somerset.
TANIA
(in Russian)
How pretty!
96.
Bond opens the compartment door, picks up the Lektor and they
step into the corridor.
IN THE CORRIDOR
Tania holds up and admires the ring as Bond shuts the door.
They turn down the hall.
REVERSE ANGLE
A CONDUCTOR suddenly runs down the corridor calling urgently.
CONDUCTOR
Mister Somerset! Mister Somerset!
BOND AND TANIA
turn back. The conductor approaches.

CONDUCTOR
(anxiously)
You are the friend of Kerim Bey?
BOND
Yes?
CONDUCTOR
There has been a terrible accident.
Please come quickly.
The conductor turns back down the corridor. Bond opens the
door and pushes Tania back into her compartment, handing her
the Lektor.
TANIA
No tea?
BOND
Later. Keep the door locked.
He shuts the door.
REVERSE ANGLE
Bond follows the conductor down the corridor.
IN THE CORRIDOR OF THE NEXT CAR
The conductor leads Bond to the door to Benz' compartment as a

MAN walks past them. The conductor looks both ways then
starts to open the door.
97.
IN BENZ' COMPARTMENT
The door slides open the rest of the way revealing Bond and
the conductor.
CONDUCTOR
They killed each other!
DOLLY BACK as Bond walks in, to reveal Kerim and Benz lying
dead. Kerim lies face-down on the floor with a knife in his
back. Benz lies on the couch with a bullet-hole in his chest.
Near Kerim's face is his yellow cigarette holder.
Bond kneels and lays his hand on Kerim's shoulder, surveying

the scene, then rises.
BOND
(to the conductor)
This must be kept quiet until we
reach Trieste.
CONDUCTOR
It will be difficult.
BOND
(reaching into his
jacket, with disdain)
I'm sure.
(Bond takes out some
cash and counts it)
Kerim Bey was a very influential
man. He had many influential
friends. I'm sure they also will
reward you.
He gives some money to the conductor and puts the rest away.
CONDUCTOR
I'll try.
Bond frowns with disdain again, then looks down at Kerim.
ANGLE ON KERIM
Bond's hand reaches down and squeezes his shoulder. Then Bond
picks up the cigarette holder.
TWO-SHOT - BOND AND THE CONDUCTOR
Bond rises and, with a last look back, turns into the corridor
followed by the conductor, who closes the door behind them.
CUT TO:
98.
EXT. TRAIN TRACKS - DAY
The train races forward. Kerim's chauffeur stands in front of

the station wagon on a cross-road watching. PAN on the train
as it passes him.
THE CHAUFFEUR
with his hands on his hips watches in puzzlement.
From his POV, the train keeps passing by.
The chauffeur keeps watching.
From his POV, the train now travels into the distance.
The chauffeur looks at his watch then runs back to the station
wagon. ANOTHER MAN sits at the wheel. The chauffeur calls to
him in Turkish (we hear the word "telefona") then jumps into
the passenger seat and the car drives off.
CUT TO:
She sits on the couch folding a sweater. A triple-knock

sounds at the door. She gets up and unlocks it. From
outside, Bond slams the door open and glares at her.
TANIA
What is it?
She looks at him, not comprehending.
BOND
Kerim's dead!
TANIA
Dead?
BOND
Um-umm.
Tania backs up and sits on the couch, shocked. Bond

approaches.
BOND
Now, I want the truth!
He reaches down, grabs her wrists and yanks her to her feet.
DOLLY IN closer.
TANIA
James, you're hurting me!
99.
BOND
I'll do worse than that if you
don't tell me! You're doing this
under orders, I know. What are
they?
TANIA
I don't know what you mean.
BOND
Liar!
He slaps her face and she flies back, landing on the couch.
TANIA
(holding her cheek)
Even if you kill me I can say
nothing. I did not know anything
like Kerim's death would happen.
But when we get to England, I tell
you.
Bond goes to her.
BOND
Go on.
TANIA
(falling back crying)
Oh, no!
BOND
(sitting beside her)
Tania, maybe they didn't let you in
on all of this, but whatever you do
know, tell me.
He grabs her arms from behind. She responds by stroking his

hand.
TANIA
I know I love you, James. I love
you.
BOND
Just tell me.
TANIA
I love you, I love you, it's true.
BOND
Sure.
100.
He rises, takes the Lektor from an overhead luggage rack, goes

into his compartment and shuts the door. We hear Tania
crying.
CUT TO:
EXT. TRAIN - DAY
The train races forward. PAN on it as it goes by. FADE IN a

SUPERIMPOSITION of a map of Europe and PAN across it, showing
the train's route, from 'Sofiya' to 'Beograd.'
DISSOLVE TO:
EXT. BELGRADE STATION - NIGHT
The train approaches the station. The SUPERIMPOSITION FADES

OUT.
GUARD (O.S.)
(calling)
Belgrade! Belgrade!
AT A RAILING
Kerim's son MAHMET, wearing a suit and tie and holding his
hat, watches.
THE TRAIN
comes to a stop at the platform. Bond immediately alights

reaching inside his coat.
MAHMET
sees him and follows.
ALONG THE TRAIN - TRUCKING SHOT
Bond walks past the train putting a cigarette in his mouth.

Through the windows behind him we see Grant inside following
him. Bond stops and looks back. Grant disappears behind a
partition. Bond walks forward again. Grant again follows.
Nearing the end of the train, Bond stops and looks around at
people walking by
Mahmet, holding a cigarette, hurries to Bond.
MAHMET
Excuse me.
101.
Bond turns to face him.
MAHMET
May I borrow a match?
BOND
(lighting his cigarette)
I use a lighter.
MAHMET
Better still.
BOND
Until they go wrong.
Bond gestures feebly, slips the lighter into his pocket and
starts walking with Mahmet; TRUCK with them.
MAHMET
My brother telephoned me. Why did
the train not stop?
BOND
Well, I... I have some... some bad
news.
Bond stops and gives Mahmet a direct look.
BOND
Your father's dead.
MAHMET
Who did it? Tell me.
BOND
Well, he took care of that himself.
The other man died first.
(all business)
Now, listen.
Bond tosses his cigarette aside. DOLLY IN closer.
BOND
I'll need some help to get across
the frontier strip between
Yugoslavia and Trieste. I want you
to send a message to 'M' in London.
Tell him to send someone from
Station Y to meet me in Zagreb.
All right?
MAHMET
I will.
102.
BOND
Good.
Bond nods to him, then PAN on Bond as he walks away. Then he

stops and turns back.
BOND
Oh.
DOLLY BACK as Bond returns to Mahmet taking out Kerim's wallet

and cigarette holder.
BOND
(handing them to
Mahmet)
You'll, uh —- I think you'll want
these.
CONDUCTOR (O.S.)
(calling to Bond
in French)
Monsieur Somerset, the train is
leaving!
MAHMET
(to Bond)
Thank you.
BOND
(backing away)
Ciao.
CONDUCTOR (O.S.)
(in English)
The train is leaving!
Bond turns and walks off. Mahmet turns the other way and
looks at the objects in his hands. DOLLY BACK as he walks
away. Then HOLD on the train. We see Grant looking out
through a window in a door of the caboose.
The train starts moving. Grant turns into the corridor.
EXT. TRAIN - NIGHT - SAME TIME
PAN on the wheels as they gather speed.
UP ANGLE ON THE TRAIN
Passenger windows fly by, many with people looking outside.
DISSOLVE TO:
103.
THE JOURNEY - MONTAGE - NIGHT
PAN on the wheels as the train speeds along. Then DISSOLVE TO

a wider angle of the train continuing into the distance. Then
DISSOLVE TO a deserted station as the train races by. Then
DISSOLVE TO the speeding wheels again.
Meanwhile FADE IN a SUPERIMPOSITION of the map of Europe. PAN

across it showing the route from Belgrade to Zagreb.
DISSOLVE TO:
EXT. ZAGREB STATION - NIGHT
The train pulls into the station. FADE OUT the

SUPERIMPOSITION. The train sounds its whistle. DISSOLVE TO a
shot of the passenger windows passing by.
THE STATION
seen through a window in a door. A sign comes into view:

'ZAGREB.' Grant steps to the door and opens it.
EXT. TRAIN - SERIES OF SHOTS - SAME TIME
- Grant steps onto the platform, looks around and walks off.
- Bond walks along an inside corridor glancing out the

windows.
- A man in a business suit holding a briefcase stands in the

station waiting. He is NASH.
Grant puts a cigarette in his mouth and walks purposefully

through the station past many people.
He reaches Nash. We see them speak and gesture but we don't

hear them.
They start walking forward. Grant tosses his cigarette aside,

pulls a pair of gloves from his pocket and puts them on.
They turn to the restroom. Grant pats Nash on the back and
Nash goes in first. Grant looks around then follows.
MEDIUM SHOT - THE TRAIN
Bond steps onto the platform, looks around and starts walking.
OUTSIDE THE RESTROOM

Grant emerges carrying the briefcase and donning Nash's hat.
He pulls off the gloves and walks off.
104.
ANGLE ON THE TRAIN - TRUCKING SHOT
Bond walks forward looking around. Grant passes him. Bond

looks down at Grant's briefcase. Grant backs away a bit then
stops and looks at Bond. He walks up taking a cigarette case
from his pocket.
A gush of steam from the train drowns them out so we only see
them speak and gesture.
At the end of their conversation, a whistle sounds. Bond

gestures to hurry. Grant boards the train and Bond follows.
The conductor closes the door and the train starts moving.
INT. TRAIN - CORRIDOR - SAME TIME
Bond and Grant face each other. A conductor guides some

passengers in b.g.
GRANT
(offering a handshake)
Nash. Captain Nash.
They shake hands.
BOND
Bond, traveling as Somerset.
Grant hands him a card.
GRANT
My card.
Bond looks at it —- a touch of concern crossing his face —-

then slips it into his pocket.
BOND
What kept you?
GRANT
Oh, I'm so sorry. I only got 'M's
wire an hour ago. I busted every
record getting here.
BOND
What were 'M's orders?
GRANT
Only to, uh, contact you and the
lady on the train.
BOND
Good. Come this way.
105.
Bond leads him to another car, then waits to let him go first.
GRANT
Thank you.
Bond follows him down the next corridor.
She opens the door to a triple knock. Bond immediately enters

followed by Grant.
BOND
This is my wife Caroline. Captain
Nash.
NASH
(taking off his hat)
Oh, uh, how do you do.
(shakes her hand)
I'm so pleased to meet you.
BOND
This way, Nash.
Bond opens the door to his compartment and they go in.
BOND
Sit down, will you?
NASH
Thank you.
IN BOND'S COMPARTMENT
Bond closes the door. Grant drops Nash's briefcase and hat
onto the couch, sits, crosses his legs and sighs. Bond leans
back against the doorjamb.
BOND
Been long in Yugoslavia?
GRANT
About three years.
BOND
Interesting work?
GRANT
Yes, sometimes. Well, you know how
it is, old man.
BOND
You look very fit, Nash.
106.
INTERCUT - BOND AND GRANT
GRANT
Yes, I try to keep in shape.
They look at each other.
GRANT
So what's our problem, sir?
BOND
Well, I can't risk taking this...
(points to the Lektor
on the luggage rack)
... through the customs at the
Yugoslav-Trieste border.
GRANT
No stops till then. We'll have to
jump off.
BOND
(nods)
Can you get us across?
GRANT
Any of the opposition around?
BOND
Well, not in any condition to worry
about.
GRANT
Good. We'll make it. I know this
territory like the back of my hand.
He glances down at the back of his hand.
TWO-SHOT
Bond watches him.
GRANT
(leaning forward)
Uh, sir, do you mind if we have a
bite to eat first? I've been on
the go since breakfast.
BOND
No, of course not. Leave your
things there. We'll go to the
restaurant car.
Bond opens the connecting door.
107.
BOND
Caroline, you go on with Captain
Nash to the restaurant car.
She rises and takes her coat as Grant walks in past Bond.
BOND
I'll join you there in a few
minutes.
GRANT
(patting his shoulder)
Whatever you say, old man.
(passing Tania)
Excuse me.
He opens the door for her and steps into the corridor. She
follows. Grant look back at Bond with a half-smile then
closes the door.
Bond walks over and locks the door then goes back into his
compartment.
Grant's hat and briefcase rest on the couch. Bond sits beside
them and lifts the briefcase. He turns the latches sideways
and pops it open.
Inside are a man's shirt and a tie. He reaches beneath them

and sees a revolver. He picks it up, feeling its heft, then
puts it back.
INT. RESTAURANT CAR
Grant sits with Tania at a table waiting. He looks back at

the entrance then at his watch.
GRANT
Excuse me.
He gets up and steps toward the entrance. Just then Bond

enters carrying the Lektor.
GRANT
Ah, there are you, old man. I was
worried something had happened to
you.
They walk back to the table. Bond sits beside Tania, Grant
across from them.
108.
ANGLE ON BOND AND TANIA
A WAITER walks up to their table.
WAITER
Pardon, monsieur.
He hands Bond a menu.
BOND
Thank you.
He hands a menu to Grant, off.
GRANT (O.S.)
Thank you.
Bond looks at the menu.

BOND
I'll have the grilled sole.
He looks at Tania for approval. She shrugs.
BOND
And for madam.
(to Grant, off)
What about you, Nash?
ANGLE ON GRANT
GRANT
Yes. That sounds very nice. Make
that three of those, will you?
WIDER ANGLE - THE TABLE
BOND
I'll have a bottle of the Blanc de
Blanc.
GRANT
Make mine Chianti.
WAITER
White Chianti, monsieur?
GRANT
Uh, no. The red kind.
Bond, unfolding his napkin, glances up at Grant. The waiter

walks away.
109.
GRANT
Well, enjoy your dinner, old man.
I think I've got the answer to our
problems. Very simple, really.
BOND
Good.
CUT TO:
EXT. TRAIN - NIGHT
The train races by.
DISSOLVE TO:
INT. RESTAURANT CAR - AT THE TABLE - LATER

Bond, Tania and Grant are eating dinner. In front of Bond and
Tania are glasses of white wine and a wine bottle. In front
of Grant is a glass of red wine, the bottle nearby.
GRANT
(glancing at his watch)
We should reach the border in about
an hour.
CLOSE SHOT - GRANT'S HAND
reaches for the salt but knocks over Tania's wine glass.
THREE-SHOT
GRANT
Oh, I'm terribly sorry, Misses
Somerset. Most clumsy of me.
Grant dabs the spot with his napkin.
BOND
(calling)
Waiter?!
WAITER (O.S.)
Oui, monsieur?
Grant picks up the wine bottle and Tania's glass, then glances
sharply back.
GRANT
Waiter?!
WAITER (O.S.)
Tout suite, monsieur!
110.
CLOSE SHOT - GRANT'S HAND
refills the glass and at the same time drops a white pill into
it.
OVER GRANT'S SHOULDER
Bond eats as Grant sets down the wine bottle and glass.
WIDER ANGLE - THE TABLE
The waiter picks up something.
WAITER
Excuse me. Merci.
He walks away.
GRANT
You'll, uh... you'll find Trieste
quite interesting. Of course, it's
not London.
Grant lets out a little laugh and picks up his glass.
GRANT
Cheerio!
Bond raises his glass.
BOND
Cheerio.
They toast each other, Grant letting out another little laugh,
and they drink.
MEDIUM CLOSE SHOT - TANIA
absently picks up her glass, looks off at Bond then sips.
DISSOLVE TO:
INT. CORRIDOR - NIGHT
Bond walks down the corridor carrying the Lektor, opens the
[unlocked] door to Tania's compartment and goes it. She
follows, tipping from one wall to the other.
TANIA
I don't feel very well. My head!
Grant holds her from behind. Bond looks out from the
compartment.
111.
GRANT
The lady's come over faint.
BOND
Bring her in here.
GRANT
May I?
He guides Tania to the doorway. Bond backs up and Grant walks

her inside.
Bond takes her and lies her down on the couch. She moans.
BOND
(to Grant)
Let's go next door.
He opens the door to his compartment.
GRANT
(looking at Tania)
Exhaustion, I'd say.
BOND
Hmm.
Grant steps into Bond's compartment. Bond turns off the light
in Tania's compartment then follows Grant, closing the door
behind him.
Bond locks the door and turns his back on Grant.
BOND
What was it —- the stuff you put in
her drink?
GRANT
Chloral-hydrate. Quick but mild.
Bond takes out his pistol and turns, aiming it at Grant.
BOND
And?
GRANT
(raising his arms)
Take it easy, o-o-seven.
Bond glares at him.
112.
GRANT
My escape route's only for one.
(smiles slightly)
What are you after, the girl or the
Lektor?
BOND
(relenting, stops
aiming at Grant)
All right. What is your plan?
GRANT
Explain it better on a map.
(gestures with one
hand to his pocket)
All right?
Grant takes a map from his pocket, sits on the couch and opens
the map on Nash's briefcase. Bond puts his pistol in his
pocket and looks down. Grant points to the map with both
index fingers.
GRANT
Now, we're here, you see?
Bond crouches beside him.
GRANT
When we reach there, there's a
steep gradient. The train slows
down there.
ANGLE ON THE MAP
Grant's left hand continues pointing to the map as his right

hand comes down to his leg.
GRANT (O.S.)
We'll block the line. Make for
that main road.
TWO-SHOT
GRANT
Pick up a car... there.
GRANT'S RIGHT HAND
goes to his ankle. He takes a pistol from a holster under his

pant leg.
GRANT (O.S.)
A truck, in fact.
113.
BOND (O.S.)
That must be about...
TWO-SHOT
BOND
... twenty miles from here.
Grant suddenly slams the butt of his pistol against the base
of Bond's skull. Bond groans and drops to the floor.
Grant jumps up.
Bond rolls across the floor.
LOW ANGLE - BOND AND GRANT
Bond lies on his side in f.g. Grant kicks his leg to see if
he'll react.
Then Grant reaches down, rolls Bond onto his back, puts his
pistol to Bond's temple, takes Bond's gun from his shoulder
holster and slips into his pocket. He feels Bond's legs for
more weapons, then takes his cigarette case.
ANGLE ON BOND
Grant opens the cigarette case, sees only cigarettes, and

slips it into his pocket. He takes cash from Bond's inside
pocket. Bond starts to raise his hand. Grant slaps it down.
LOW ANGLE
Grant pockets the money, then takes Bond's silencer from

another pocket and rises aiming his gun at Bond.
INTERCUT - BOND AND GRANT
Struggling, Bond sits up.
GRANT
Keep still!
Bond looks back.
GRANT
All right, get up on your knees.
Bond rises to his knees.
GRANT
Put your hands in your pockets.
Keep 'em there.
Grant sits on the couch, still aiming his gun at Bond.

114.
BOND
(kneeling with his
hands in his pockets)
Red wine with fish. That should
have told me something.
GRANT
(slips the silencer into
his pocket and rests his
free arm on his knee)
You may know the right wines, but
you're the one on your knees. How
does it feel, old man?
BOND
'Old man'? Is that what you chaps
in SMERSH call each other?
GRANT
SMERSH?
BOND
(looks up with realization)
Of course! SPECTRE! Then it
wasn't a Russian show at all.
You've been playing us off against
each other, haven't you?
Grant stares back at him.
BOND
Then it was SPECTRE who killed the
Russian agent in the mosque. You?
GRANT
Um-hmm.
BOND
Kerim and the other man?
GRANT
Um-hmm.
BOND
And Nash?
GRANT
Well, I don't mind talking. I get
a kick out of watching the great
James Bond find out what a bloody
fool he's been making of himself.
He takes Bond's gun from his pocket, sets it on the couch,
then takes out the silencer.
115.
GRANT
We're pros, Mister Bond.
He attaches the silencer to Bond's gun.
GRANT
We sweated your recognition code
out of one of your men in Tokyo —-
before he died. I've been keeping
tabs on you. I've been your
guardian angel. I saved your life
at the Gypsy camp.
BOND
Oh, yes. I am much obliged.
GRANT
We were keeping you alive till you
could get us the Lektor.
BOND
So you had me deliver it on a
plate. It's brilliant. Go on, I'm
fascinated.
GRANT
Now that we've got it, you and the
girl are expendable. Between here
and Trieste.
He picks up Bond's gun with his left hand and aims it at him.
BOND
The girl? Isn't she working for
SPECTRE, too?
GRANT
No. She thinks she's doing it all
for Mother Russia. She takes her
orders from Colonel Kleb.
BOND
Well, Rosa Kleb's Russian. Head of
operations for SMERSH.
GRANT
Was. Kleb works for SPECTRE now.
The girl doesn't know that.
BOND
Well then, why kill her?
GRANT
Orders.
116.
Grant slips his own gun into his pocket then reaches into
another pocket.
GRANT
That's only half of it, old man.
Bond stares at him. Grant takes out a roll of 8mm movie film.
GRANT
Here's a roll of film. She'll have
this in her handbag.
He tosses the film onto the couch and takes an envelope from
his pocket.
GRANT
And on you... they'll find this
letter. It's from her.
Threatening to give the film to the
press unless you marry her for
helping you get the Lektor.
He sets the letter down.
BOND
What film?
GRANT
Taken in the bridal suite at your
hotel. Something else the girl
didn't know about. Or you.
(he snickers)
[What a performance!]
BOND
Must be a pretty sick collection of
minds to dream up a plan like that.
GRANT
Can't you see the headlines?
'British agent murders beautiful
Russian spy, then commits suicide'?
BOND
Tell me. Which lunatic asylum did
they get you out of?
GRANT
Don't make it tougher on yourself.
DOLLY BACK as Grant walks over to Bond and slaps his face
hard.
117.
GRANT
My orders are to kill you and
deliver the Lektor. How I do it is
my business. It'll be slow and
painful.
BOND
How much are they paying you?
GRANT
What's it to you?
BOND
We'll double it.
GRANT
Your word of honour? As an English
gentlemen?
Bond just stares at him. Grant glances down, smirks as if
thinking, then looks at Bond again.
GRANT
The first one won't kill you. Nor
the second. Not even the third.
Not till you crawl over here and
you kiss my foot!
BOND
How about a cigarette?
GRANT
Not a chance.
BOND
I'll pay for it.
GRANT
What with?
BOND
Fifty gold sovereigns.
GRANT
Where are they?
BOND
Up there, in my case.
Grant glances up at the luggage rack. Bond watches him.
Grant switches the gun to his right hand and takes the
briefcase with his left. Bond keeps watching.
118.
GRANT
You show me.
He tosses the briefcase onto the couch. It lands on top of

Nash's. Bond takes his hands from his pockets and raises the
case. Grant watches.
ANGLE ON BOND
over Grant in f.g. aiming the gun at him. Bond opens the
case, removes the straps with the sovereigns and holds them
out to Grant.
BOND
Here you are. What about that
cigarette?
REVERSE ANGLE - OVER BOND'S SHOULDER AT GRANT
Grant starts pulling a glove onto his left hand.
GRANT
Throw 'em down there.
Bond tosses the straps onto the couch.
GRANT
Any more in the other case?
ANGLE ON BOND
Grant in f.g. continues pulling on the glove [onto his right

hand as he holds Bond's gun with his left]. Bond stares at
him.
BOND
I should imagine so. It's a
standard kit.
He sets Nash's case aside and turns his own case to face him.
BOND
I'll have a look.
ANGLE ON GRANT - OVER BOND'S SHOULDER
Grant finishes pulling the glove onto his right hand. His
left hand is also gloved.
GRANT
Put your hands back in your
pockets!
119.
MEDIUM CLOSE SHOT - BOND
obeys and returns his hands to his pockets.
ANGLE ON GRANT OVER BOND'S SHOULDER
GRANT
Keep them there.
He sits on the couch and turns Bond's case toward himself.
watches.
ANGLE ON GRANT OVER BOND'S SHOULDER
He turns the first catch on the case.

still watches.
CLOSE SHOT - THE CASE
Grant's hand moves to the other catch and flips it open.
still watches. Suddenly a gushing sound occurs O.S.
MEDIUM CLOSE SHOT - GRANT
flies backwards in a gale of smoke shooting from the case.
SERIES OF SHOTS
- Bond lunges through the smoke at Grant and grabs the arm
with the gun.
- Bond shoves Grant against the wall.
- Grant twists forward.
- They struggle over the gun. The gun fires.
- A bullet smashes the light.
- Bond and Grant, bathed in blue moonlight, keep struggling in

the smoke. Bond grabs the gun and throws it.
- The gun smashes through the window. We see the men's

reflections in the glass. Bond grabs Grant by the collar and
twists him around.
120.
- Bond tries to pull Grant's jacket down over his arms.
- WIDER ANGLE: Bond pulls Grant downward then slams a knee

into his face. Grant flies backwards.
- IN TANIA'S COMPARTMENT: Grant crashes in through the door.

He bounces off the couch (where Tania is sleeping) and flies
forward. His head butts into Bond's stomach
- IN BOND'S COMPARTMENT: Bond crashes against the wall and

falls onto the couch.
- IN TANIA'S COMPARTMENT: Grant dives at Bond.
- Bond pivots and Grant lands on the couch in front of him.

Bond stands on the couch and kicks Grant in the back then in
the face. Grant flies backwards.
- Grant lands in a corner then ducks as Bond tries to step on
him. Bond's foot goes wide and his legs arch over Grant.
- Bond tries to wrap his legs around Grant's neck. Grant

grabs his legs and pushes upwards in a tackle.
- Bond lands backwards on the couch, Grant atop him. Bond

grabs his neck with both hands and they roll onto the floor.
- Grant pushes Bond backwards against the couch.
- Bond smashes two fists into Grant's face.
- Grant falls backwards. Bond grabs him by the neck with one
hand.
- With the other, Bond punches him in the face. Grant falls
backwards, landing in the doorway to Tania's compartment.
- Bond lunges forward.
- Grant jumps to his feet as Bond dives at him.
- Both on their feet now in the doorway, Bond throws a punch

at his face. Grant ducks then punches Bond in the stomach.
- WIDER ANGLE: Grant pulls his arm back readying another

punch.
- Bond slams the connecting door into his face.
- Grant falls backwards onto Tania's couch.
- He lunges at Bond and grabs him around the waist. Bond

grabs him under the arms and slams him against the doorjamb.
121.
- CLOSER: As Grant rebounds, Bond slams him against the other

doorjamb, then against the first one...
- WIDER: ... then against the second one, then against the
first one. Grant suddenly heaves him backwards.
- Bond falls against his couch.
- Bond sinks down then kicks at Grant.
- Bond's foot connects with Grant's face and Grant flies

backwards, landing on his back.
- Bond jumps up and runs forward.
- Grant jumps up and runs forward.
- Bond throws a punch at Grant and misses. Grant punches him

in the face then repeatedly in the stomach as Bond raises his
hands to defend himself.
- Grant's face is contorted in anger.
- Bond grabs Grant around the neck.
- Grant pushes Bond against the wall. Bond keeps one hand on
Grant's back and plants the other on his face, trying to break
his neck.
- CLOSER: Bond's hand pushes Grant's head back.
- Bond judo-chops both sides of Grant's neck then grips the

bar on the overhead rack.
- WIDER: Bond swings his legs forward and kicks Grant in the
chest. Grant falls backwards.
- Grant lands on Bond's couch. Bond releases the bar and

dives at him. Grant rolls aside. Bond lands face-down on the
couch. Grant jumps onto his back and grabs him around the
neck, then swings him around so Bond is almost sitting on
Grant's lap.
- CLOSE ON GRANT'S HANDS: He wears the watch containing the

garrote.
- Bond reaches back, struggling to grab Grant's hands. Grant

reaches for his watch.
- CLOSE ON GRANT'S HANDS: He pulls the garrote from his

watch.
- Grant slings the garrote around Bond's neck. Bond clutches
at it as Grant strangles him. The back of Bond's right hand
is bloody. He looks down at his briefcase and reaches for it.
122.
- Grant continues to strangle Bond.
- CLOSE ON THE BRIEFCASE: Bond's hand tries to press the

button to release the knife.
- Grant continues strangling him. Bond glances down.
- His hand still fumbles with the briefcase.
- Grant continues strangling him, Bond still looking down.
- Bond's finger presses the button. The knife pops out the
side of the case. Bond's hand grabs it and turns it upward.
- Bond swings around with the knife.
- Bond plunges the knife into Grant's shoulder. Grant

screams. Bond grabs him by the neck and whips him around.
- Bond slings the garrote around Grant's neck.
- Grant falls backwards as Bond strangles him.
- Grant's head dangles now from the garrote.
- Bond pulls the garrote tighter. Grant gasps. Bond pulls

still tighter. Grant's head slumps back and he lands on the
couch dead.
ANGLE ON BOND
He backs away, breathing heavily. He straightens his tie and

buttons his coat. Then he goes to the couch, picks up various
things and puts them in his pocket.
He takes his hat and briefcase and starts to back away, but
returns to Grant and reaches inside his coat, taking out the
cash.
BOND
You won't be needing this, old man.
Bond enters, closing the connecting doors behind him and

locking them. He turns to the compartment door, opens it and
looks outside.
BOND'S POV - THE RAILROAD TRACKS - DAY FOR NIGHT
A truck with its hood up sits on a railroad crossing blocking

the tracks up ahead. The train sounds its whistle.
123.
BOND
puts on his hat. DOLLY BACK as he shuts the door.
BOND
Tania!
He goes to her and grabs her shoulders.
BOND
Wake up!
He pulls her up by the collar. She is barely conscious.
BOND
Wake up or I'll leave you behind!
She sinks back onto the couch, groaning.

He grabs her again and pulls her up into a sitting position.
BOND
Oh, Tania, wake up or I'll leave
you behind! Do you hear me?!
TANIA
Don't leave me; never leave me.
EXT. RAILROAD CROSSING - DAY FOR NIGHT - SAME TIME
We see the truck now in f.g. There is a bed of flowers in

back. The driver —- Rhoda —- stands next to it waiving to the
approaching train to stop. The train slows and sounds its
whistle.
The train wheels grind to a halt.
Bond lifts Tania to her feet and leans her against the wall.
BOND
Tania, this is Nash's escape route.
Do you understand? We've got to
get off here.
He hands her a sweater from a coat-hook.
BOND
Take this. Come on.
He picks up his briefcase and the Lektor and leads her out
into the corridor.
124.
EXT. TRAIN CROSSING - DAY FOR NIGHT - SAME TIME
TWO PORTERS run toward the truck calling out in Turkish.

Rhoda gets behind the wheel as one of them goes to the
passenger door. They move to push the car off the tracks.
EXT. TRAIN - ANGLE ON DOORWAY
Bond leads Tania down the steps.
BOND
Must get to the other side of the
train. Under here.
He pushes her down and follows.
AT THE CROSSING
The porters push the car off the tracks.
WIDE ANGLE - THE SIDE OF THE TRAIN
Bond and Tania emerge from underneath it, run behind some
trees and duck.
AT THE CROSSING - SERIES OF SHOTS - BOND AND RHODA
- The train starts slowly forward as the porters run back to

it.
- Bond watches from behind a tree.
- The train wheels pick up speed.
- Bond darts forward and jumps onto the train. He looks

around.
- The train reaches the crossing. Bond jumps off and couches.
The rest of the train passes by. Bond runs across the tracks
to the passenger side of the truck as Rhoda walks back along
the driver's side.
- Rhoda peers down the track.
- Bond crouches, watching him.
- Rhoda lets out a sharp whistle.
RHODA
Grant! Where are you?
- Bond keeps watching.

- Rhoda walks back along the driver's side of the truck.
125.
RHODA
Grant!
(he whistles again)
- Bond rises, ready to strike.
- Rhoda steps in front of the truck, whistles again, and

reaches up to close the hood. Bonds leaps forward and slams
it shut on Rhoda's arms. Bond grabs Rhoda's hair.
BOND
Excuse me.
- Bond punches him in the face.
- Rhoda falls to the ground. Bond kneels, pulls off Rhoda's

belt and ties his wrists behind his back.
- The train continues into the distance.
- Bond frisks Rhoda, finds a gun and tosses it aside. Then he

rolls Rhoda over.
- Bond lifts Rhoda, places him in the passenger seat of the

truck and shuts the door.
BOND
Now don't run away.
TANIA
lies sleeping behind the trees. Bond runs to her.
BOND
Come on!
She moans.
BOND
Come on or I'll leave you here!
TANIA
Stay here with me!
Bond picks up his briefcase and the Lektor with one hand and
pulls Tania up with the other.
TANIA
(exclaiming)
Oh!
WIDER ANGLE
PAN on them as they run along the tracks to the truck. Bond
lifts Tania into the bed of the truck atop the flowers.
126.
BOND
Sleep it off in there. You'll feet
better in the morning.
Tania rolls onto her side, her eyes flickering closed. We

hear the hatch close.
AT THE DRIVER'S SIDE OF THE TRUCK
Bond opens the driver's door climbs behind the wheel. Rhoda
is still unconscious.
BOND
Come on, wake up.
Rhoda barely moves. Bond closes the door and drives away.
DISSOLVE TO:
EXT. A DIRT ROAD - DAY
The truck approaches.
IN THE TRUCK - SAME TIME
Bond continues to drive, Rhoda still unconscious beside him.
HELICOPTER SHOT - THE TRUCK
continues along the road.
IN THE HELICOPTER - SAME TIME
The PILOT and a GUARD holding a rifle look down at the truck.
THEIR POV - THE TRUCK
continues down the road.
BOND
behind the wheel looks up at the chopper.
SERIES OF SHOTS - BOND AND THE HELICOPTER
- The chopper's passenger waves at Bond to stop driving.
- Bond looks forward, ignoring him.
- The helicopter flies across the truck, circles around and

flies back.
- The pilot and passenger look down at the truck.
- From their POV, ZOOM IN on Tania looking up at them.

127.
- The chopper whizzes past overhead, the passenger still

waiving at Bond to stop.
- Bond glances up but keeps driving.
- The helicopter flies over the truck.
- Bond glances up again but keeps driving.
- The helicopter flies over the truck again.
- Its tail passes directly above the bed of the truck. Tania
looks up.
- The helicopter circles again.
- The passenger holds a hand grenade and pulls out the pin
with his teeth.
- The chopper zooms right overhead.
- An explosion goes off right behind the truck.
- Bond ducks but keeps driving.
- The chopper zooms right overhead again.
- Bond looks up then back at the road.
- The chopper zooms across the truck.
- The passenger holds another hand grenade.
PILOT
Try and straddle the truck.
The passenger nods, pulls the pin out with his teeth and leans
over the side.
- From their POV, they cross the truck again.
- Another explosion goes off behind the truck.
- The helicopter zooms right overhead again.
- Another explosion goes off, this one beside the truck. The
truck stops.
- Bond gets out, looking up at the chopper
- The chopper circles around again.

- Bond rushes out with the Lektor and his folded rifle and
slams the door behind him.
128.
- Bond runs to the back of the truck.
- Tania looks up at him.
BOND (O.S.)
I'll get them away from here! You
hide under the truck.
- Bond runs forward again and looks up.
- The helicopter zooms by right overhead.
- Bond runs away from the truck and up a hill.
- From the chopper's POV, we see Bond running onto the

hilltop.
- The chopper passes by right in front of us.

- The chopper passes over Bond and he drops to the ground.
- The chopper zooms away.
- Tania peers around the back of the truck then climbs

underneath it.
- The chopper zooms right overhead again.
- From the chopper's POV, Bond runs forward as the chopper

tries to run him down. Bond drops flat to the ground and the
chopper continues on.
- Bond looks up at the chopper.
- The chopper starts to circle again.
- Bond runs forward.
- The chopper flies right at us.
- From the chopper's POV, Bond runs over the crest of the hill
then ducks as the chopper passes by.
- The chopper starts to circle again.
- Bond turns and looks up.
- The chopper flies right over him and he drops to the ground
again as it passes by. He jumps to his feet and runs forward
again.
- The chopper flies right at us again.

- From the chopper's POV, Bond runs back up the hillside then
drops to the ground.
129.
- The chopper circles again.
- Bond runs off.
- The chopper, nearly at ground level, chases him. Bond dives

over an outcropping of rock and the chopper passes over him.
It starts to circle. Bond emerges from behind the rock and
runs up the hill toward us.
- Bond runs behind another rock formation. He lies back to

let the rock shelter him.
- The chopper passes right overhead again.
- Bond picks up his folding rifle.
- The chopper circles again.

- Bond assembles the rifle.
- The chopper now hovers directly overhead.
- The passenger leans out holding a grenade.
- Bond aims the rifle at the chopper.
- The chopper continues to hover.
- Bond fires the rifle.
- The bullet strikes the passenger and he drops the grenade

inside the chopper. He and the pilot struggle frantically to
reach it.
- The chopper explodes in a ball of flame.
- Bond looks up.
- The chopper drops spinning from the sky.
- ZOOM IN on Bond as he covers his face.
- The chopper keeps tumbling.
- ZOOM FURTHER IN on Bond. An explosion O.S. bathes him in

red.
- The chopper on the ground explodes again.
- Bond leans against the rock as smoke wafts by. His hat is
gone.
- The chopper explodes yet again.
130.
- Bond looks around the corner of the rock at it. Then,

picking up the Lektor, he crawls forward, leaving his hat
behind. He runs downhill from the burning chopper.
ANGLE ON THE TRUCK
Rhoda sits fuming in the passenger seat, muttering to himself

in Russian. Tania walks up to the driver's window and leans
against it, pleased.
Bond turns toward them.
Rhoda keeps muttering. TRUCK FORWARD to Bond arriving. Tania

hugs him.
TANIA
Oh, Ja —-
Right behind them the chopper explodes yet another time. Bond
shields Tania with his body then looks back.
BOND
I'd say one of their aircraft is
missing.
He and Tania turn toward the truck.
DISSOLVE TO:
EXT. JETTY - DAY
The truck drives down a road and stops at the jetty where a
motor launch waits. It bears four fuel drums.
Bond emerges from the truck wearing a skipper's cap. He grabs

the Lektor, briefcase and rifle and hurries to the back of the
truck, where Tania was riding.
BOND
Tania?
She climbs down holding her sweater.
BOND
(hands her the
briefcase)
Here, take this and cast the rope
off.
TANIA
All right.
She runs forward. Bond passes behind the truck.

131.
ANGLE ACROSS RHODA IN THE TRUCK
Bond stops at the passenger door and opens it.
BOND
Where's the key?
No response. Bond jabs the barrel of the rifle into Rhoda's

neck.
BOND
Where's the key?
RHODA
In my coat. In the pocket.
Bond lifts Rhoda's coat and takes a key from the pocket.
BOND
All right, get out. Move!
Rhoda climbs out of the truck.
WIDE ANGLE
BOND
In the boat!
Rhoda runs down the jetty to the boat. Tania is untying the
back rope. Bond follows carrying the Lektor, rifle and
Rhoda's coat. He unties the front rope and the three of them
climb aboard. Bond starts the engine and the boat moves off.
ON THE BOAT
The three of them stand looking through the windshield.
BOND
(to Rhoda)
Can you swim?
Rhoda looks away.
BOND
(to Tania)
Here, take the wheel.
(to Rhoda)
This way, please.
Bond leads Rhoda to the back of the boat.
BOND
Oop, mind the step!
He makes Rhoda step up onto the edge of the boat. Tania looks
back. Bond unstraps Rhoda's belt from his wrists.
132.
BOND
It just isn't your day, is it?
Bond pushes him over the side of the boat into the water.
Rhoda screams back at him in Russian.
Tania smiles as Bond walks back to her.
TANIA
Where are we going?
BOND
Venice. Look in that locker, will
you?
She passes him and he takes the wheel.
She opens the locker.

TANIA
Chart, pistol, some flares...
BOND
Here, give me those charts.
She hands him a chart. He unfolds it on the cabin and looks

at it.
BOND
(pointing at the map)
Yes, we're here. Near Istria.
He looks back and sees the four fuel drums.
BOND
Well, we've got plenty of fuel.
With a bit of luck we should be
there by tomorrow morning.
CUT TO:
MEDIUM CLOSE SHOT - BLOFELD'S CAT
He strokes it.
BLOFELD (O.S.)
Three men were found dead on the
train at Trieste. One of them was
Grant.
PULL BACK to reveal:

INT. BLOFELD'S CABIN ON HIS YACHT - DAY
Blofeld swivels forward to face Kleb and Kronsteen.

133.
BLOFELD
What do you have to say, Number
Five?
KRONSTEEN
He was Kleb's choice. Her people
failed.
KLEB
(to Kronsteen)
It was your plan! They followed it
implicitly.
KRONSTEEN
Impossible. It was perfect.
KLEB
Except for one thing. They were
dealing with Bond!
KRONSTEEN
Who is Bond... compared to
Kronsteen?
Blofeld continues stroking his cat.
BLOFELD (O.S.)
Exactly. What have you to say to
that, Number Three?
Kleb looks at him fearfully.
Blofeld presses a white button on his desk.
Morzeny enters through the doorway behind them. DOLLY IN as

he approaches the desk.
BLOFELD
Bond is still alive and the Lektor
is not yet in our possession. I
have already negotiated with the
Russians to return it to them.
We've agreed a price. And SPECTRE
always delivers what it promises.
Our whole organization depends on
our keeping those promises.
Morzeny quietly puts his feet together and a knife shoots out
of the toe of one of his boots.
BLOFELD
(still stroking his cat)
I warned you. We do not tolerate
failure, Number Three.
134.
Kronsteen looks smugly at Kleb. Kleb sweats profusely.
BLOFELD (O.S.)
You know the penalty?
KLEB
Yes, Number One.
The boot with the knife leans back, preparing to strike.
BLOFELD (O.S.)
Our rules are very simple.
Kleb keeps sweating. Kronsteen turns smugly to Blofeld.

Blofeld keeps stroking his cat.
BLOFELD (O.S.)
If you fail...
Morzeny's boot turns sideways toward Kronsteen, and suddenly
kicks him in the ankle. Kronsteen cries out in pain and
doubles over. Kleb looks on, amazed.
Kronsteen rises, a look of total incomprehension on his face.

He starts to fall then braces himself against the edge of
Blofeld's desk. DOLLY BACK. Kronsteen shakes his head at
Blofeld in disbelief and slowly sinks to the floor.
BLOFELD
Twelve seconds. One day we must
invent a faster working venom. --
Number Three.
KLEB
(snapping to attention)
Yes, sir.
BLOFELD (O.S.)
I do not wish to have to tell the
Russians that there will be another
delay.
KLEB
There will be no delay, Number One.
There's still time.
CUT TO:
EXT. GULF OF VENICE - LONG SHOT - DAY
Bond's boat races across the water in the distance, leaving a

white wake.
135.
IN THE BOAT
Tania licks her finger and holds it to the wind. Bond,

steering, smiles at her.
TANIA
Which way are we going?
BOND
The shortest route.
(holds up the chart)
Which is between those two
mountains...
He points to mountains looming up ahead.
BOND
... and straight along the coast.
They look peacefully into the distance.
Suddenly a motorboat rounds a point in front of them, heading

for them.
BOND
spins the wheel, turning back in the direction they came from,
throwing a wide wash behind. They race ahead at full
throttle.
They hear Morzeny's voice calling through a megaphone:
MORZENY (filtered)
Ahoy, Mister Bond!
Tania looks back.
THE MOTORBOAT
races to catch up.
MORZENY (filtered)
Ahoy, Mister Bond!
CLOSER SHOT - THE MOTORBOAT
Morzeny holds the megaphone and stands beside the PILOT; TWO
SPECTRE MEN sit behind him.
MORZENY (filtered)
(to Bond)
Heave to! Heave to!
136.
BOND
glances back then puts on even more speed.
Suddenly he sees another motorboat up ahead round a point and

race at him, then another.
He swerves to avoid them, completing another half arc.
MORZENY (filtered)
You're trapped, Mister Bond!
You're trapped! You cannot escape!
You cannot escape!
WIDE ANGLE - THE SEA
Bond's boat speeds ahead, leaving a wide wake, with three

motorboats racing after it. ZOOM BACK to an even wider angle.
MORZENY'S BOAT
speeds forward. One of his men kneels on the bow aiming a

machine gun. Morzeny barks orders into the megaphone:
MORZENY (filtered)
Rifle grenade, prepare to fire!
ANGLE OVER MORZENY
The other two boats are right ahead, chasing Bond's boat in
b.g. On each bow a man crouches with a machine gun.
MORZENY (filtered)
We're coming through! Pull over,
SPECTRE Green!
(lowers the megaphone
and waves)
Get out of the way!
His boat passes between the other two.
MORZENY
(to a man behind him)
Give them a warning shot!
The man behind him fires a rifle grenade.
ANGLE ON BOND'S BOAT
An explosion occurs just behind it.
ON MORZENY'S BOAT
He calls through the megaphone to the boat on his left.
137.
MORZENY (filtered)
Rifle grenade fire!
A man on that boat fires a rifle grenade.
REVERSE ANGLE ON BOND'S BOAT
An explosion occurs right in front of it.
ON MORZENY'S BOAT
He calls through the megaphone to the man on his bow.
MORZENY (filtered)
Forward machine gun fire!
MEDIUM SHOT - ANOTHER BOAT

A man fires a rifle grenade.
BOND'S BOAT
Another explosion occurs behind it and we hear machine gun

fire.
MORZENY'S BOAT
The man on the bow is firing his machine gun. Morzeny calls
through the megaphone to the two boats behind him.
MORZENY (filtered)
You're firing too close!
ON ANOTHER BOAT
A man fires another rocket grenade.
ANGLE ON BOND'S BOAT
Another explosion occurs behind it.
MORZENY (O.S., filtered)

SPECTRE Red, SPECTRE Green, you're
firing too close!
MORZENY'S BOAT
He turns to the boats behind him. A man on his stern fires

another grenade.
ON BOND'S BOAT
Tania looks back. An explosion occurs right behind her. The
three SPECTRE boats follow in b.g.
138.
MORZENY'S BOAT
Morzeny continues on the megaphone.
MORZENY (filtered)
(to the others)
You're trying to stop them, not to
sink them!
ON BOND'S BOAT
Bond glances back. Machine-gun fire and another explosion

erupt behind him. Tania ducks and looks back.
MORZENY'S BOAT
comes right at them, the man on the bow firing his machine
gun.
ON BOND'S BOAT
Bond glances back at the fuel drum. Bullets puncture each of

them and fuel pours out. Bond keeps looking. More fuel.
He touches Tania's arm.
BOND
Here, take the wheel!
Tania takes the wheel. Bond turns, unties the drums and
pushes three of them off the boat. They splash into the
water. PAN BACK to show the drums floating between Bond's
boat and the others.
MORZENY
raises a pair of binoculars. He sees the drums in the water.
MORZENY
(to skipper)
Slow down!
The three boats pass one of the fuel drums. ZOOM BACK to a
wide angle.
MORZENY
Slow down all boats! Green, go
alongside, while we keep you
covered.
139.
BOND'S BOAT
Bond rolls the last fuel drum off the boat. It splashes into
the water. Bond starts to reach down.
MORZENY (O.S.)
Hands up, Mister Bond!
Bond raises his hands as Tania looks back.
TANIA
Why are you giving up? Without
those drums the boat must be
lighter. We can go faster.
BOND
Hand me that Very Pistol.
MORZENY'S BOAT
He calls to Bond through the megaphone.
MORZENY
Keep your hands up, Mr. Bond.
We're sending a boat along to take
you off.
ON BOND'S BOAT
Tania hands Bond the pistol. He aims and fires it.
SERIES OF SHOTS
- A fuel drum blows up.
- The fuel in the water explodes around the SPECTRE boats as

Bond speeds away.
- Bond fires the pistol again.
- More explosions in the water.
- Flames roar up.
ON BOND'S BOAT
He glances back grinning.
BOND
(to Tania)
There's a saying in England:
'where there's smoke there's fire.'
140.
SERIES OF SHOTS
- Two SPECTRE boats collide amidst the flames and smoke,

setting off an explosion between them. The man on the bow of
one of the boats catches fire and jumps overboard.
- Morzeny's boat comes forward through the flames.
MORZENY
(yelling at another boat)
Green, change your course!
- The other boat passes through deep smoke and, when it

emerges, the man on the bow is gone.
- Morzeny yells at the others:
MORZENY
All boats, toss your ammunition!
Get rid of it -- quick!
- PAN across a boat on fire.
- Morzeny stands on his burning boat, waving back at the other

boats.
MORZENY
Get rid of it!
- On another boat, the man on the bow shields his face against
the flames.
- Flames engulf Morzeny's boat.
- It passes through more fire.
- Fire burns on the water.
- Morzeny calls to his men.
MORZENY
Quick as you can! Let's jump!
- His boat passes into a cauldron of flame.
- Morzeny is ablaze. He falls backwards into the water.
MORZENY
(screaming)
Ahhh!
- His boat explodes.

SLOW DISSOLVE TO:
141.
EXT. VENICE - ESTABLISHING SHOT - DAY
laying serenely on the Mediterranean.
ON A HOTEL BALCONY
Tania sits in a chair. A champagne bottle and glasses are on

the table beside her, and Bond stands lighting her cigarette.
DOLLY IN. Bond wears a shirt and tie but no jacket. He
kisses the back of her neck.
A phone rings inside.
BOND
Don't go away.
He goes into their room. PAN on him through the window as he

walks to the phone.
INT. SALON - SAME TIME
Bond picks up the phone.
BOND
(into phone)
Yes?... Oh, thanks. Tell him to
wait, will you? And, uh, send up a
porter for the luggage... Thank
you.
A knock sounds at the door.
BOND
(calling back in
Italian)
Avanti!
The door to the suite opens and Kleb enters dressed as a

chambermaid.
KLEB
(in Italian)
Permesso, signor. (By your leave,
sir.)
BOND
(in Italian)
Si, prego. (Yes, please.)
Kleb shuts the door and walks off.
BOND
(into phone)
And also, uh, get me the British
Consul... Thank you.
142.
He replaces the receiver. PAN on him as he walks to a table

where the Lektor sits and shuts the case. Kleb, behind him,
is dusting a couch.
Bond picks up his shoulder holster, which hung over a chair at

the table, and walks into the bedroom putting it on.
DOLLY IN on Kleb. She walks to the table and picks up the

Lektor.
The phone suddenly rings again. She sets the Lektor down and
takes an ashtray from the table.
BOND
emerges from the bedroom. PAN on him as he grabs his coat

from the chair, passes Kleb holding the ashtray, goes to the
phone putting his coat on and picks up the phone.
BOND
(into phone)
Yes?... Oh, Mister Maxwell,
please... James Bond.
TANIA
enters the salon, holding a green coat over her shoulder.
TANIA
James, we will miss the plane and
we will...
She freezes, seeing Kleb.
KLEB
looks at Tania and puts a finger to her lips, shushing her.
TANIA
DOLLY IN on her as she mouths the words, "Rosa Kleb."
BOND (O.S.)
(into phone)
Hello, Paul. Bond here. Just to
tell you we're off in a few minutes
and I want to thank you for
everything. And signal the office
we are on our way back, will you?
ANGLE ON BOND
Tania stands in b.g. near the door. Kleb, holding a suitcase,
picks up the Lektor from the table and turns toward the door.
143.
BOND
(continuing)
... What was that?
(he sees Kleb and
points)
Here, leave that! I'll take it.
Kleb sets the Lektor down.
BOND
listens on the phone and laughs.
BOND
What?... Oh, no. It should be
routine from here on in. Y'know,
so many times--
He looks off at Kleb and stops.
MEDIUM CLOSE SHOT - KLEB
aims a gun at him.
BOND
stares at her. Meanwhile we hear Paul over the phone:
PAUL (filtered)
Hello, what was that you're saying?
Hello, hello?
KLEB
gestures to him to hang up.
BOND
Realization crosses his face.
BOND
(to himself)
Kleb.
KLEB
gestures again for him to hang up.
MEDIUM SHOT - BOND
Again we hear Paul over the phone:

PAUL (filtered)
James! Are you still there?
Hello!
144.
Bond puts the phone down.
KLEB
makes an upward gesture with the gun.
BOND
turns and puts his hands up.
TANIA
looks at Bond shaking her head, as if to say she's not in on

this.
BOND
looks at her in chagrin then glances down.

KLEB (O.S.)
Romanova!
WIDER ANGLE
Bond stands in f.g. with his arms raised as Tania and Kleb
stand in b.g.
KLEB
The door!
BOND
looks at Tania.
TANIA
looks back, shaking her head again.
KLEB
KLEB
(yelling now)
Romanova!
BOND
glances at Tania.
THREE-SHOT
Tania opens the door. DOLLY UP as Kleb walks over to Bond,

takes his gun and tosses it aside.
145.
BOND
looks on.
CLOSER ANGLE - TANIA AND KLEB
Kleb picks up the Lektor and hands it to Tania.
KLEB
Take this.
Tania takes it from her.
BOND
watches.
ANGLE ON THE DOORWAY

Tania steps out into the hall with the Lektor. DOLLY IN as
Kleb starts closing the door, still aiming at Bond.
BOND
watches.
ANGLE ON KLEB
DOLLY IN closer on she closes the door further, still aiming

at Bond.
BOND
DOLLY IN CLOSE as he watches.
ANGLE ON KLEB
Suddenly the door bursts open and Tania lunges in and grabs
Kleb.
SERIES OF SHOTS
- The gun lands on the floor.
- Bond lunges forward.
- Tania falls to the floor as Kleb rises, facing Bond. She

backs away ripping off her cap.
- Bond runs forward then hesitates.
- Kleb knocks her feet together. A knife shoots out from the
toe of one of her shoes.
146.
BOND
backs away and grabs a chair, aiming it to block her, and

steps forward.
ANGLE ON KLEB'S FEET
They step forward. She shouts and kicks out with her shoe.
Bond's feet approach her. TILT UP as he pushes the chair
against her and pins her to the wall. She curses at him in
Russian and tries to hit him.
BOND'S FACE
Her fist misses him.
ANGLE ON KLEB'S FEET

Her knifed foot keeps kicking at him.
TWO-SHOT
Bond keeps Kleb pinned against the wall.
TANIA
on the floor on her side grabs Bond's gun, rolls onto her back
and aims it at one and then the other.
BOND AND KLEB
DOLLY IN as he keeps her pinned and she tries to hit and kick
him.
THEIR FEET
Kleb's feet keep kicking at Bond's legs but he moves to avoid

them. She curses again in Russian.
TANIA
aims the gun again at one and then the other and then fires.
KLEB
KLEB
(screaming)
Ah! Ah!
Her arms fly up.
BOND
watches her.
147.
KLEB
sinks down along the wall to the floor then tips over.
BOND
backs away and sets the chair down. DOLLY BACK as Tania walks
up to him still holding the gun and looking at Kleb. She rubs
Bond's shoulders. He takes the gun from her.
TANIA
Horrible woman.
BOND
Yes.
(he rubs his eyes)
She's had her kicks.
CUT TO:
EXT. VENICE CANAL - DAY
A flock of pigeons fly into the air. FOLLOW THEM as they

cross the canal. Matt Monro sings "FROM RUSSIA WITH LOVE."
CLOSER ON THE CANAL
TILT DOWN from a bridge above the canal to gondolas streaming

forward.
IN A GONDOLA - SAME TIME
Bond and Tania ride in the back seat. He wears his suit and
she her green coat. She takes the wedding ring off her finger
and hands it to him.
TANIA
Here you are, in case you ever need
it again.
BOND
(taking it)
Oh, yes. All government property
has to be accounted for.
(slips the ring into
his pocket)
But as I said before: 'We won't
always be working on the company's
time,' will we?
TANIA
No.
They kiss, Bond squeezing Tania's shoulder.
148.
FAVORING BOND
They continue to kiss then Tania suddenly sits upright and

straightens her hair.
TANIA
James, behave yourself! We are
being filmed!
Surprised, he glances back.
BOND'S POV - A BRIDGE OVERHEAD
An ELDERLY COUPLE stands on the bridge. The man films them as

the woman takes snapshots.
ON THE GONDOLA - FAVORING TANIA

BOND
Oh, not again!
He takes the reel of film given to him by Grant from his

pocket.
FAVORING BOND
He unspools the start of the roll and holds it up to the

light.
BOND
(looking at it)
He was right, you know. [What a
performance!]*
FAVORING TANIA
TANIA
What is it?
BOND
I'll show you.
He slings an arm around her and they kiss. TILT UP to the

canal. Bond's hand rises into frame holding the reel, swings
it around and tosses it.
CLOSE SHOT - THE CANAL
The reel lands in the water.
*
At this moment there is a skip in the soundtrack where the line was removed, which is
obvious because the lyric skips.
149.
BOND'S HAND
waves goodbye to it.
THE WATER
PULL BACK as 'THE END' comes on, then TILT UP to the receding
Venice shoreline as another title comes on:
NOT QUITE THE END

JAMES BOND
WILL RETURN IN
THE NEXT
IAN FLEMING THRILLER
'GOLDFINGER'
END CREDITS ROLL.

FADE OUT.
THE END

Airplane 2

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Airplane 2

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AIRPLANE II

February 18, 1982

EXT. JUNGLE - DAY

A machete slashes INTO FRAME. An American in battered

EXT. GANTRY - NIGHT

The Jupiter shuttle stands ready to fly.

SUPER: HOUSTON, 2002

INT. MISSION CONTROL ROOM - STOCK FOOTAGE

of Houston Control with appropriate jargon V.O.

INT. TERMINAL - WIDE ANGLE STOCK SHOT

of a crowded modern terminal.

EXT. TERMINAL - STOCK FOOTAGE - NIGHT

of heavy traffic at LAX.

ANGLE ON TERMINAL DOORS

A number of men in futuristic-looking mining outfits,

The miners look up.

Two miners head to terminal doors and pass FOUR NUNS,

INT. CONTROL ROOM

A group tour moves through the room behind controllers.

INT. LUNAR SHUTTLE COCKPIT - NIGHT

Three crew members watch the lit landing strip as their

INT. MISSION CONTROL

The CONTROLLER moves away from his video unit. A kid

INT. LUNAR SHUTTLE

EXT. NIGHT SKY

The Lunar shuttle careens towards the terminal, out of

INT. CONTROL ROOM

The kid is still playing like mad. A flash appears on

EXT. TERMINAL - NIGHT

BUD KRUGER, head of the space center, and the

Kruger and the Commissioner go up escalator.

INT. TERMINAL - SECOND LEVEL

Kruger gets a pack of cigarettes from a machine.

INT. TERMINAL - SHOESHINE STAND

Kruger and Commissioner get shoes shined. A MAN next

Kruger and Commissioner head down escalator.

Kruger and Commissioner head to their limo.

They stop and look at each other.

MUSIC: DRAMATIC STING

They get back in their limo and drive off.

INT. MISSION CONTROL

ANGLE ON LESLIE NEILSON - DOCTOR RUMACK

Dressed as a doctor and looking in a Controller's

EXT. GANTRY - CLOSEUP OF SHUTTLE - NIGHT

MUSIC: BIG SPACE THEME

WIDE ANGLE LENS PANS the under-belly past the nose as

MUSIC: CRASHES TO A STOP

ANGLE ON SIDE OF SHIP

MUSIC: BIG SPACE THEME STARTS FROM TOP AGAIN

PAN workers on scaffolding who check gauges on exterior

EXT. TERMINAL - NIGHT

SIMON KURTZ and ELAINE THOMPSON get out of a taxi with

A JAPANESE COUPLE get out of a taxi -- the man has

Simon and Elaine are approached by a BUSINESSMAN with

Simon hands the Businessman a dollar and takes a rose.

The Businessman joins six other BUSINESSMEN carrying

A man with a suitcase on a leash walks beside them.

He kisses Elaine and smiles.

The man with the case on a leash passes a woman with a

EXT. REAR OF TERMINAL BUILDING - NIGHT

SARG (imagine George Kennedy), dressed in a tuxedo, tie

Sarg lights his cigar.

Sarg throws the lit match towards the "ABSOLUTELY NO